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PARKER 
FAIRYLAND 


THE  LIBRARY 

OF 

THE  UNIVERSITY 

OF  CALIFORNIA 

LOS  ANGELES 


!^^^^'-n,y\iA-(^^ 




—  "    • — -:— : 

NEW    YORK   :    G.    SCIIIRMER 

FAIRYLAND 


<A< 


' "  ' 

— — — ~- — ■ — — — — • ■■■-- 

NEW    YORK   :    G.    SCHIRMER 

ALL  RIGHTS  OF  REPRODUCTION,  TRANSLATION  AND  PUBLIC 
PERFORMANCE  RESERVED  FOR  ALL  COUNTRIES,  IN- 
CLUDING NORWAY,  SWEDEN  AND  DENMARK 

Copyright,  1914,  by  Brian  Hooker 
Copyright,  1915,  by  G.  Schirmer 


50 

ARGUMENT 

Rosamund,  a  novice,  from  the  abbey  balcony  beholds  the  young  king 
Auburn  riding  across  the  valley,  and  falls  a-longing  for  life  and  for  him.  But 
he,  scorning  the  kingdom  that  has  been  too  easily  his  own,  would  fain  go  a 
pilgrimage.  He  leaves  his  crown,  not  to  Corvain  his  brother,  but  to  the 
Abbess  Myriel.  Corvain  therefore  steals  upon  Auburn  while  he  prays 
before  the  shrine,  strikes  him  down,  and  leaves  him  for  dead.  But  Auburn, 
reviving,  finds  himself  among  Fairies,  and  within  the  shrine  not  Our  Lady 
but  his  own  lady  Rosamund;  and  they  two  are  crowned  King  and  Queen  in 
B.  vision  of  Fairyland. 

Auburn  being  gone,  Corvain  by  force  seizes  upon  the  kingdom;  which 
Myriel  claims  also;  so  each  takes  tribute  from  the  People,  who  are  grievously 
oppressed  thereby.  Rosamund,  fleeing  from  the  abbey  in  search  of  Auburn, 
falls  into  the  power  of  Corvain.  Auburn  returns  to  claim  his  crown  again; 
but  none  will  recognize  him  for  the  King;  Rosamund  knows  him  only  for  her 
Prince  of  Fairyland;  and  he,  being  come  back  again  to  earth,  knows  her  not. 
Myriel,  pursuing  Rosamund,  comes  upon  the  two  together.  While  she  and 
Corvain  quarrel  for  possession  of  the  fugitive.  Auburn  before  all  the  people 
interferes,  proclaiming  himself  king,  and  invoking  the  magic  power  of  the 
Rose  which  he  has  brought  from  Fairyland.  But  the  Rose  withers  before 
the  scornful  laughter  of  Corvain,  wherein  the  People  join;  Rosamund,  re- 
nouncing Corvain's  protection,  is  led  away  prisoner  by  Myriel;  and  Auburn 
is  left  desolate. 

Rosamund,  believing  steadily  in  her  Fairy  lover,  is  to  be  burned  for 
witchcraft.  Myriel  strives  to  make  her  repent,  persuading  her  how  that  her 
vision  had  been  of  Holiness,  not  of  Love;  but  Rosamund  will  not  doubt. 
Rosamund  and  Auburn,  being  without  hope,  now  wholly  remember  each 
other  and  despise  their  dream;  seeing  yet  Robin  and  his  People  as  nothing 
more  than  mere  peasant  clods,  who  therefore  cannot  aid  them.  Auburn 
single-handed  desperately  attacks  Corvain,  who  has  him  seized  and  bound 
also  to  the  stake.  In  that  last  moment,  while  the  fagots  kindle,  they 
hear  the  drinking-song  of  the  common  folk  in  the  tavern,  and  by  that  mirth 
know  them  for  the  People  of  the  Hills.  The  Rose  burns  in  Auburn's  bosom 
like  a  star,  while  Rosamund  sings  the  magic  song  thereof.  The  scene 
transforms  again  into  the  likeness  of  their  vision,  wherein  Myriel  and 
Corvain  are  overpowered  by  the  throng  of  Fairies  rushing  in,  and  Auburn 
and  Rosamund  are  again  set  free  and  crowned  in  a  world  that  is  one  with 
Fairyland. 


3074^31 


THE  PERSONS 

Auburn — the  King;  afterward  Prince  of  Fairyland  Heroic  Tenor 

CoRVAiN — brother  to  Auburn  Bass 

Myriel — the  Abbess  Mezzo-Soprano 

Rosamund  High  Soprano- 

Robin — surnamed  Goodfellow  Lyric  Tenor 

Chorus  of  Nuns,  Men-at-arms,  and  Common  Folk  (the  People  of  the 
Hills,  who  are  also  Fairies) 

Act      I.     Before  the  Abbey.    All-Hallows'  Eve  {One  hour) 
Act    II.     The  Castle  of  the  King.    Noon    (Thirty-five  minutes) 
Act  III.     The  Village.    Dawn    (Thirty  minutes) 

The  Action  takes  place  Once  Upon  a  Time,  and  within  the  interval  of 
a  Year  and  a  Day. 

The  Time  is  roughly  the  Thirteenth  Century;  The  Place,  a  hill  country 
in  Central  Europe.  These,  however,  are  not  intended  to  locate  the  story  with 
historical  precision,  more  than  in  the  case  of  any  other  fairy  tale;  but  as  an 
affair  of  scenery  and  costume  and  setting,  the  form  in  which  it  meets  the 
eye.  For  the  action  takes  place  in  the  Valley  of  Shadows,  also  called  the 
World:  which  seen  in  a  certain  light  is  also  Fairyland.  It  is  concretely 
represented  as  a  triangular  valley,  some  two  miles  on  a  side,  having  at  one 
corner  the  abbey;  at  another,  the  castle  of  the  King;  and  at  a  third,  the 
village.  And  the  scene  is  laid  at  each  of  these  points  in  turn,  the  rest  of  the 
valley  being  in  each  case  visible  and  recognized  in  the  distance. 

The  visual  effect  of  the  production,  therefore,  is  of  that  mediaeval  realm  of 
fancy  with  which  Maxfield  Parrish,  Arthur  Rackham,  and  others  have  made 
us  familiar^  And  the  transformation  by  which,  at  the  end  of  the  First  and 
Third  Acts,  the  scene  becomes  a  vision  of  Fairyland  is  presented  by  the  sud- 
den change  from  ordinary  stage  light  to  a  fantastic  and  decorative  scheme  of 
vivid  colors;  and  by  the  effect  of  this  colored  light  upon  the  scenery  and 
costumes. 


VI 


ACT  THE  FIRST 

Before  the  Abbey 
All-Hallows*  Eve 


FAIRYLAND 

An  Opera  in  Three  Acts 


ACT  THE  FIRST 


The  scene*  represents  the  left  hand  corner  of 
a  triangular  valley.  On  extreme  left,  down 
stage,  rise  the  gray  and  mossy  walls  of  the 
abbey;  in  the  midst  of  which,  facing  right, 
is  a  great  door,  with  a  balcony  over  it. 
Beyond,  the  hills  slope  diagonally  back  and 
to  the  right,  so  that  the  level  distance  of  the 
valley  is  behind  the  right  side  of  stage.  In 
the  extreme  distance,  up  right  centre,  ap- 
pears the  village  in  the  opposite  corner  of 
the  valley.  The  foreground  is  separated 
from  the  rest  of  the  picture  by  a  cleft  or 
chasm,  tvhich  runs  in  a  rough  zigzag  from 
just  behijid  the  abbey  to  the  right  front 
corner  of  the  scene.  The  path  leading  from 
the  abbey  down  and  away  to  the  right 
crosses  this  chasm  by  a  bridge  at  a  point 
in  front  of  the  distant  village  {right  centre); 
ayid  to  left  of  the  bridge  and  on  the  hither 
side  of  the  chasm  stands  a  icayside  shrine, 
vine-covered,  its  interior  hidden  in  shadow, 
facing  the  audience  across  the  path.  Early 
evening  in  aidumn.  Sunset,  and  yellow 
light  over  middle  distance.  Suggestion  of 
color  in  the  foliage. 

The  end  of  the  overture  runs  into  the  peasants' 
chorus  as  the  curtain  rises  on  an  empty 
stage.  The  singing  comes  softly  from  off 
stage  in  the  direction  of  the  village.  A  few 
peasants,  carrying  tools,  fagots,  etc.,  come 
by  twos  and  threes  down  the  hill-slopes  to 
the  left,  cross  the  stage,  and  disappear  down 
the  path  to  the  right,  singing  as  they  go. 
The  effect  is  that  they  are  the  last  stragglers 
of  homeward-bound  laborers,  following  the 


greater  number  who  have  gone  already 
toward  the  village,  and  whose  singing  is 
still  audible  in  the  distance.  Among  the 
last  of  these,  two — an  old  man  and  a 
young,  savage-looking  forester — speak  to 
each  other  against  the  music  of  the  chorus. 

Chorus 
In  lowly  and  rude  land 

Our  folk  are  fain  to  dwell, 
By  corn-land  or  woodland, 

Or  fallow  of  the  dell; 
So  we  who  bear  her  burden 
Will  give  our  mother  guerdon — 
A  fair  land,  a  good  land. 

Whose  children  love  her  well. 

The  Forester 
Stir  thyself.  Gaffer! 

The  Old  Man 

I  am  not  so  swift 
As  once  I  was. 

The  Forester 
The  rest  are  home  by  now. 
Hark  to  them! — Art  thou  grown  too  old  to 

sing 
And  dance  on  Hallows'  Eve? 

At  this  point  the  Chorus  pauses,  so  that 
the  next  few  words  of  the  tivo  peasants 
are  heard.  Rosamund  comes  out  on  the 
balcony,  in  the  white  robes  of  a  novice, 
and  stands  looking  out  over  the  distant 
valley,  a  prisoner  dreaming  freedom. 
The  two  peasants  call  attention  to  her. 


*Right  and  Left  refer  throughout  to  the  right  and  left  of  the  audience,  facing  the  stage. 

3 


FAIRYLAND 


The  Old  Man   (icondering) 
Look  there! — 
The  Chorus  rises  again,  rather  louder,  as 
more  peasants  pass  across  the  stage. 

The  Old  Man 

An  angel 
Of  light  on  the  Tower,     Kneel  thou!     Take 
her  blessing. 

The  Forester 
I  will  pray  for  her.    She  will  never  dance,  nor 

sing, 
Nor  love.    Thy  mercy  on  Thy  saints,  O  Lord ! 

He  boivs  his  head,  still  standing.  The 
other  peasants  have  their  attention  called 
to  Rosamund,  and  in  turn  call  the 
attention  of  the  audience  to  her  by  follotc- 
ing  the  example  of  the  two.  The  Old 
Man  and  one  or  tivo  others  are  on  their 
knees;  the  rest  pausing  in  momentary 
reverence.  But  all  this  is  background 
kept  quiet  enough  to  focus  the  whole 
scene  upon  Rosamund,  the  ichite  figure 
against  the  ivied  wall.  The  Chorus 
goes  right  on;  and  Rosamund  does  not 
notice  the  peasants  viore  than  as  part 
of  the  scene.  Her  gestures  are  emphatic 
enough  to  draw  attention,  a  pantomime 
of  longing  for  escape  into  the  beautiful 
world. 

Chorus 
By  sunbeam  and  shadow 

Her  treasury  shall  shine 
With  gold  of  the  meadow 
And  ruby  of  the  vine; 

So  we  that  do  possess  her 
Will  pray  Our  Lady  bless  her: 
Sing  Ave  and  Credo, 

And  kneel  around  her  shrine. 

The  Old  Man 

Saints  of  the  blessed  abbey,  pray  for  me, 
And  bring  a  blessing  on  my  soul. 


As  the  Chorus  pauses  again  a  Third 
Peasant  comes  in  from  the  right. 

The  Old  Man 

{the  last  to  rise  and  turn  toward  the  newcomer) 

No  need 
To  spoil  a  man's  prayers. 

The  Forester 

Ay,  old  holiness. 
We  must  be  very  careful  of  thy  soul; 
Come  home  before  we  meet  with  them  that 

have 
No  souls. 

They  start  aumy  up  right.  The  rest  is  mere 
talking  as  they  go. 

Third  Peasant 
Look  at  the  sun !    Is  this  a  time 
For  prayer?    We  shall  be  taken  by  the  elves 
If  we  delay  much  longer. 

The  Forester 

Let  us  go! 

They  go  out  up  right,  leaving  the  stage 
empty  again  except  for  Rosamund.  The 
Orchestra  shows  Auburn  riding  across 
the  valley  in  the  distance.  Rosamund 
suddenly  sees,  turns,  and  leans  out  over 
the  balcony,  stretching  her  arms  toward 
the  sight;  then  buries  her  face  in  her 
hands.  Her  action  is  passionately  em- 
phatic. The  Chorus  is  heard  again, 
more  softly. 

Chorus 
Unfailing  for  ever 

Her  mysteries  remain: 
The  blood  of  the  river. 
The  body  of  the  grain — 
The  Autumn  of  her  dying. 
Her  Winter  buried  lying. 
Whom  Spring  shall  deliver. 
And  Summer  crown  again! 


FAIRYLAND 


The  sound  of  the  angelus  breaks  in  on  the 
close  of  the  chorus  music.  The  Or- 
chestra suggests  the  music  of  the  nuns. 
Rosamund  starts,  crosses  herself,  and 
disappears  within.  Corvain  enters, 
right,  by  tcay  of  the  path  and  the  bridge; 
pauses  impatiently  before  the  shut  gate, 
and  in  a  grudging,  perfunctory  way  obeys 
the  message  of  the  bell.  As  he  looks  up, 
he  sees  Robin  dancing  out  of  the  forest 
on  the  left  and  across  the  stage  above  the 
chasm. 

Robin  {humming  as  he  goes) 
So  we  7vho  bear  her  burden — 


Corvain 


Hold  you  there! 


Fellow! 


Robin  (pausing  on  the  further  side  of  the  chasm, 
and  bowing  ivith  elvish  and  ironical  deference) 
Gramercy  for  thy  fellowship, 

Good  master!  Lord,  how  light  these  honors 
fall! 

Poor  Robin  is  become  the  mate  of  lords. 

And  fellow  to  the  brother  of  the  King ! 

Corvain 
Be  done,  dog!    Tell  me,  which  way  went  the 
King? 

Robin 
Shall  a  dog  look  what  way  a  king  should  go? 

Corvain 
Ay,  lest  the  King  run  forth  to  bay  the  moon. 
And  be  lost. 

Robin 
Sir,  which  king? 


Corvain 


Are  there  so  many; 


My  brother,  oaf  I 


Robin  (seated   on   the   edge  of  the   gulf  and 
counting  on  his  fingers) 

The  good  sisters  here. 
They  say  we  have  a  king  in  heaven.    The  folk 
In  the  village  yonder,  they  tell  wonders,  too; 
They  say  there  is  a  king  in  Fairyland. 
Now  of  these  three  to  lose  one — 

Corvain 

Answer  me! 
Saw  ye  the  King  in  the  forest? 

Robin 

Sir,  I  have  seen 
No  man  to-day  more  like  a  king  than  thee. 

Corvain 
More  like!     .     . 

(He  makes  an  angry  movement  toivard 
the  bridge;  Robin  moves  nimbly  back 
from  the  chasm.) 

What  now?    Come  hither. 

Robin  (warily  approaching  from  his  own  side  of 
the  chasm) 

Nay,  my  lord, 
Not  too  much  fellowship.  Look,  there  is  yet 
A  gulf  between  us. 

(He  tosses  a  pebble  into  the  chasm.  There 
is  an  instant's  pause  while  it  falls. 
Corvain  goes  on  more  quietly.) 

Corvain 

Hearken !    Went  he  not 
Clad  as  a  pilgrim,  in  gray  weeds,  with  stafif 
And  sandal?    Would  ye  know  him  so? 

Robin   (with  the  air  of  Ananias  patronizing 

an  amateur  liar) 

Brother, 
I  have  known  many  seek  the  Holy  Land — 
Poor  folk,  like — us;  dry  women,  lonely  men 
And  such  like.     But  a  king! — Why,  look  ye 

now, 
'Tis  against  nature!    If  we  tell  that  tale. 
Men  will  but  say  that  we  have  murdered  him 
For  the  sake  of  his  crown. 


FAIRYLAND 


CORVAIN 

Dost  thou  say  so. 


Villain? 


Robin 
The  saints  forbid!    I  only  say 
We  dare  not  lose  him. 

CoRVAIN 

Fellow,  must  I  be 
My  brother's  keeper? 

Robin 
Brother  to  a  crown, 
And  fellow  to  a  clown — Ay,  noble  sir, 
Or— 

{His  gesture  suggests  beheading  as  the 
alternative.  There  is  a  second's  'pause, 
CoRVAiN  standing  rigid  with  rage,  while 
Robin  comically  watches  him.  Then 
Robin  is  seized  with  an  ironical  in- 
spiration.) 

Aha!    See  now: — This  is  Hallows'  Eve, 
No  night  for  prince  or  pilgrim  wandering, 
For  whoso  seeks  the  Holy  Land  to-night 
May  chance  on  Fairyland  athwart  his  way. 
Good !  Say  the  goblins  have  him,  or  the  gnomes 
Took  him  to  be  their  king,  or  he  hath  seen 
A  Singing  Woman  in  the  wood,  and  gone 
To  slumber  by  her  side  for  seven  years. 
And  wake  a  madman.    There  now  is  a  tale 
Folk  will  believe!    Say  I  well? 

Corvain 

Thy  long  tongue 
One  day  will  crop  thy  long  ears.  Enough!  Go, 
Rouse  the  village — 

Robin 
On  this  night  ?    Holy  saints ! 
Hallows'  Eve?    Never  a  soul  stirs  from  his 

door — 
There  be  too  many  abroad  that  have  no  souls : 
Not  for  twenty  kings ! 


{Convent  hell,   and  music  of  the  nuns' 
chant  within.) 

Marry,  here  be  more 
Seekers  after  lost  crowns. 

{Going) 

Corvain 

Wait,  thou! 

Robin 

NotI— 
It  is  not  good  to  walk  too  near  the  throne. — 
Give  ye  good  e'en — Brother — and  keep  ye  safe 
From  them  who  walk  in  darkness! 

{Nuns'  music  in  the  orchestra,  and  a 
woman's  voice  intoning,  within  the  abbey. 
Against  this  Corvain  growls,  looking 
after  Robin.) 

Corvain 

Insolent ! 
{turning  away  down  stage) 

O  brother  Auburn,  holy  brother  Auburn, 
Whose  babe's  eyes  look  between  me  and  my 

will — 
Whose  dreams  rise  like  a  smoke  across  my 

way — 
How  long —  ; 

Chorus  of  Nuns 

{within) 
In  sempiterna  saecula. 


Amen! 


A  Single  Voice 
{within) 

Corvain 
I  shall  remember ! 

Chorus  of  Nuns 
{within) 
Ave  Virgo  gloriosa, 
Stella  maris,  mundi  rosa 
Peccatorum  gratiosa 


FAIRYLAND 


Consolatrix  hominum: 

Quando  tandem,  quando  fore 

Ave  Mater,  quae  primaevae 

Ut  laetanti  cum  tremore 

Matris  mala  pellis  Evae, 

Sponsus  mihi  in  decore 

Filium  prolata  saevae 

Paret  intra  patriam? 

Genti  nostrae  Dominum! 

Quo  jocunda  spes  amari 

Et  amando  amplexari 

(  The  chant  rises  suddenly  louder  as  the  doors 

Et  amplexu  consecrari 

open,  and  the  nuns  march  forth  two  and 

Ebriavit  animam. 

two,     bearing     garlands;     the     Abbess 

{Finally  the  Abbess  hangs   her  garland. 

Myriel  at  their  head,  and  Rosamund, 

kneels,  then  as  the  last  nuns  disappear. 

conspicuous   by   her   position   and   the 

rises  and  confronts  Corvain.     Rosa- 

contrast of  her  white  garments,  bringing 

mund    lingers    in   the   shadow    of  the 

up  the  rear.      With   bowed  heads   and 

doorway,  watching  and  listening.) 

measured  step  they  move  across  toward 

the  shrine.) 

Chorus  (dying  away  off  stage) 

0  amator  amplectende. 

0  dilecta,  quam  priori 

Totam  me  in  sinu  prende. 

Supernalis  dignam  thori 

Floris  gloriae  ostende 

Ducent  angelorum  chori 

Ima  penetralia; 

Paranymphi  praemio! 

Per  medullam  cordis  mei, 

0  beata,  quae  surridet 

Modo  turpis,  modo  rei, 

Ubi  creaturam  videt 

Infer  caritatem  Dei 

Suae  carnis,  qui  residet 

Quae  despernit  alia ! 

Conditor  in  gremio! 

• 

Myriel  (speaking,  as  did  Corvain  previously. 

i^As  the  procession  reaches  Corvain,   the 

against  a  murmur  of  intoning  within) 

Abbess  steps  aside  from  her  place  and 

Lord  Corvain, 

confronts  him  indignantly.     He  moves 

This  place  is  holy,  and  this  eventide 

aside  down  right,  between  awe  and  de- 

Appointed for  such  joys  as  are  not  thine. 

fiance;  and  the  two  stand  facing  each 

What  is  thy  will.? 

other,  as  the  nuns,  without  looJdng  up, 
go  on  to  hang  their  garlands  upon  the 

Corvain 

shrine,   each  pair  kneeling  an  instant 

Little  enough,  good  Mother : 

after  doing  so;  then  march  back,   still 

Nuns  (ivithin) 

singing,  into  the  abbey.) 

Amen! 

' 

Corvain 

Regis  nutrix  angelorum, 

— Only  to  seek  j'our  saintly  king, 

Da  contemptum  terrenorum, 

Auburn.               (with  evil  emphasis) 

Odium  in  vitiorum 

If  he  be  long  away,  my  will 

Triste  ministerium; 

May  count  for  something  more.    Look  to  it. 

Vanitate  solve  mentem. 

Fac  devotara,  paenitentem. 

Myriel 

Et  valentis  perferventem 

Thou? 

Fove  desiderium. 

Surely,  then  we  shall  have  a  king  indeed ! 

8 


FAIRYLAND 


CORVAIN 

What,  have  ye  no  more  news  of  him  than  I, 
His  brother?  Ye  be  women  still — some  one 
In   this    unmanned    communion    of    Christ's 

brides 
Might  so  far  sin  as  to  have  heard  his  voice 
Singing,  or  caught  the  gleam  of  his  red  hair 
Across  the  valley? 

Myriel 

I  have  no  word  of  him, 
Nor  need  for  other  evil  words  of  thine. 

{She  turns  covitemphiously  away.  Rosa- 
mund comes  timidly  to  meet  her.) 

Farewell. 

Rosamund 

Mother — 

Myriel 
Rosamund — thou  ? 

Rosamund 

The  King- 
Is  he  lost? 

CoRVAiN  {roughly) 
Ay,  or  gone  to  kneel  by  tombs, 
And  feast  his  soul  on  saints'  bones. 

Rosamund 
{fondly,  half  to  herself,  taking  no  notice  of  him) 

I  have  dreamed 
Such  a  one  should  be  king! 

(Myriel  is  about  to  answer;  but  Corvain, 
with  immediate  jealous  admiration,  in- 
terposes.) 

Corvain 

In  Fairyland, 
Maybe.    Ha,  ha,  ha!    He  is  half  minstrel,  half 
Priest,  altogether  fool.    The  rest  is  man. 

Rosamund  {innocently  to  Corvain,  without  the 

least  notice  of  his  coarseness) 
I  never  saw  a  man  so  beautiful — 
So  George  against  the  dragon  might  have  gone, 
Or  Michael,  thundering  Lucifer  down  from 
heaven. 


(Myriel  expresses  silent  disapproval) 
Standing  alone  upon  the  balcony 
Yonder,  and  gazing  out  into  the  world 
Where  the  sun  crowned  the  hills  with  gold,  and 

all 
The  shadows  filmed  with  silver,  and  the  songs 
Of  merry -weary  folk  returning  home 
Blew  down  the  blossomy  breeze,  through  the 

dull  hum 
Of  bees  and  croon  of  doves  around  the  towers — 
I  saw  one  riding  on  a  great  red  steed, 
Glorious  in  golden  armor,  with  his  brow 
Flung  upward  in  the  sunbeams,  and  his  hair 
Burning  over  him  like  an  aureole. 
Pass    like    some    brave    archangel,    clanging 

down 
The  mountain,  over  the  river,  through  the 

vale, 
Into  the  forest — 

Corvain 
So  ho !    Stole  away ! 

{Neither  woman  pays  any  attention  to  him. 
He  is  left  quite  out  of  the  scene,  covering 
his  chagrin  with  a  parade  of  contempt.) 

Myriel 
Child,  were  thine  eyes  upon  thy  beads,  to  see 
So  fondly? 

Corvain 

{half  aside,  half  trying  to  break  into  the  scene) 
Bah! 

Myriel 
There  is  a  gulf  between 
Thee  and  the  world, 

Rosamund 

Therefore  the  world  seems  all 
Wonderful  as  a  dream  of  Fairyland. 

Corvain  {name  business) 
Fairyland ! 

Myriel 

Have  a  care  lest  thou  raise  up 
The  dust  of  carnal  dreams  against  the  light. 
And  gazing  on  bright  clouds,  despise  the  sun. 


FAIRYLAND 


Rosamund 
I  do  not  love  to  look  upon  the  sun — 
Only  by  his  light  to  behold  all  else 
And  find  all  fair     .     .     .     Mother,  I  know 

this  world 
Turns  ashes;  yet — how  shall  I  dream  of  heaven 
If  not  by  every  sign  God  shows  us  here? 
The  sweet  songs  and  rich  blossoms  and  kind 

eyes, 
The  glory  and  the  gladness  and  the  power — 
Are  these  evil? 

CoRVAix  {maliciously  delighted) 

Answered!  Well  answered !  See 
The  saint  speechless!    Pretty  one,  live,  laugh, 

love 
To-day.     To-morrow — 

Myriel  {sternly  facing  him) 

Ay — to-morrow.     .     . 

{She    turns    deliberately    to    Rosamund, 
ohliterating  Corvain) 

Child, 
Thou  hast  thine  answer.  This  is  he  who  loves 
Earth! 

Rosamund 
I  haVe  sinned — 

(Corvain,  with  elaborate  unconcern,  swag- 
gers over  to  the  bridge,  and  stands 
looking  up  stage.) 

Myriel 

Go  seek  forgiveness.    Pray 
The  white  saints  wash  thee  pure  of  earth,  and 

show 
Thy  heart  the  way  to  heaven. 

Rosamund  {moving  toivard  the  door) 

Where  lies  the  road 
To  Fairyland? 

Corvain 
{suddenly  pointing  behind  them,  off  to  the  left) 
Lo,  where  he  comes! — 


Myriel  {with  startled  anger,  hurrying  Rosa- 
mund, who  tries  to  follow  Corvain's 
gesture) 

Obey! 
Rosamund 
I  pray  thee,  let  me  wait  to  see  his  face, 
Noble  and  pure,  the  knight  I  saw  but  now! 

Myriel 
There  is  a  devil  in  thee.    What,  shall  I 
Be  answered?— 

{In  the  next  few  lines  there  is  no  interruption: 
Myriel  goes  right  on,  and  Corvain 
speaks  while  she  is  speaking.) 

Corvain 
Archangel ! — 

Myriel 

Go!— 
Corvain 

Prince  of  dreams ! — 
Myriel 
What,  stubborn?    What,  unwilling? 

(Rosamund  is  fairly  driven  off  into  the 
abbey.  Myriel  turns  upon  Corvain, 
as  Auburn  enters  from  the  left  above 
the  chasm,  crosses  over  by  the  bridge,  and 
comes  down  right.) 

Corvain 

Lo,  where  he  comes ! 
{Calling  to  Auburn  as  lie  approaches) 
Too  late!    Here  was  a  pretty  lady,  fain 
To  follow  thee  to  Fairyland ! 

Auburn 

I  love 
A  lady  in  the  Holy  Land. 

{There  is  not  a  shadow  of  priggishness  about 
him:  he  is  simply  brimming  with  en- 
thusiasm which  keeps  him  imperturbably 
and  even  humorously  good-natured:  a 
poet,  not  a  puritan;  no  ascetic,  but  an 
idealist.) 


10 


FAIRYLAND 


CoRVAiN  (scornfully) 
Ay,  ay. 
Holy  Land,  Fairyland,  it  is  all  one— 
Meanwhile,  who  shall  be  king  here  ? 


Auburn 


Of  king  so  great  a  matter? 


Is  the  name 


CoRVAiN  (dryly) 

So  they  say. — 

(Turns  to  Myriel.  The  completeness  of 
his  contempt  for  Auburn  is  almost 
kindly.) 

How  think  ye?  Did  the  Lord  mistake  and  send 
The  saint  into  the  world  before  the  king. 
Or  did  the  women  blunder,  and  change  the 
babes? 

Myriel  (frozen  stiff) 
We  have  heard  enough  blasphemy. 

Auburn 

Nay,  what  harm 
In  a  word?   We  know  him  well  for  one  whose 

love 
Covers  her  shame  with  laughter. 

(He  turns  to  Corvain) 

Take  the  crown 
In  God's  name,  brother;  and  with  all  my  heart. 
Be  thou — 

(He  holds  out  the  crown  to  him.  Myriel 
interposes.) 

Myriel 
Not  so!    Hold! 

Auburn  (to  Myriel) 

Shall  I  hold  so  dear 
This    painted    picture-book    of    shadow    and 

sun,        (a  gesture) 
This    game    of   bare-the-head    and    bow-the- 

knee.     .     , 
These  golden  toys?   Ye  call  me  dreamer.  Why, 
These  are  dreams.     I  outgrow  them. 


Myriel 


Dost  thou  crown 


A  dog  with  dreams? 


Corvain 
Or  an  abbess?    Come,  give  up 
Thy  toys  to  thy  nurse,  child — thy  dry  nurse. 
(with  sloiv  emphasis) 


Auburn , 
To  a  brother,  if  he  will. 


Nay, 


A  brother! 


Myriel 

Never  to  such 

Corvain 
Go  and  pray,  woman.    Leave  men 
To  deal  with  men, 

Myriel  (to  Auburn) 

A  picture-book  of  souls; 
A  game  of  life  and  death;  a  toy  whereby. 
Since  the  beginning  of  the  world,  strong  hell 
Hath  triumphed  over  heaven. 

Corvain  {indicating  the  crown) 

Here  is  that 
Wherefore,  since  the  beginning  of  the  world. 
Men  have  slain  one  another.    Shall  I  yield 
This  to  her? 

Myriel  (gesturing  toward  the  shrine) 
Not  to  me;  to  one  who  was 
A  woman,  and  now  reigns  throned  over  all. 
Mother  and  maid  and  queen. 

Auburn 

Let  it  be  so! 
And  over  all  our  land  shall  blow  the  flt^jvers 
Of  Eden! 

Corvain 
John-a-Dreams ! 


FAIRYLAND 


11 


Auburn  (without  pausing) 

Women  shall  bear, 
And  men  labor  ungoverned.    There  shall  be 
No  law  but  love,  no  crown  save  on  whose  brow 
Burns  the  Star  of  the  Sea,  and  in  her  heart 
The  red  Rose  of  the  World! 

CoRVAiN  {dryly) 

Ay,  ay — she  died 
Some  years  back.     Let  be,  there  are  crowns 

in  heaven 
Already.    Also  there  are  maids  alive 
That  may  be  mothers.    In  the  Devil's  name 
Let   the   kings   reign    and    the    saints    pray! 

Come  home. 
Take  a  wife,   rule  thy  kingdom,  be  a  man ! 

Myriel 
In  the  Devil's  name? 

CoRVAiN  {losing  patience) 

O,  God's,  Mary's,  the  saints'. 
The  gobhns' ! 

{He    turns    to    Auburn    with    a    certain 
dangerous  quietness) 

Fool,  I  would  give  life  for  this, 
Ay — or  take  life.    Beware! 

Auburn 
{No  pause.    Myriel  is  already  speaking.) 

Nay— 

Myriel 

Be  thou  ware 
Of  fire  from  heaven !  Avoid !  We  have  endured 
Overlong.  Begone  from  us,  ere  that  Power 
Whose  word  I  bear  remove  thee  from  His  sight 
For  ever.    Give  back! 

{As  CoRVAiN  retreats  from  her  across  the 
bridge,  she  turns  to  Auburn.) 

Hither!    Thy  sword,  my  son. 
Thy     sword!       Break     down     the     bridge! 

Break  the  bridge  down! 
Brother  from  brother  will  I  set  apart, 
Blood  from  blood,  saith  the  Lord! 


{The  bridge  falls.  In  the  hush,  the  nuns' 
music  is  heard  within  the  abbey.  Au- 
burn turns  to  Myriel,  with  bowed 
head,  offering  her  the  crown.) 

Auburn 

Mother,  now 
Thy  blessing. 

{She  gives  it  silently,  by  a  gesture,  v)hile  a 
single  voice  within  is  heard  intoning  the 
Invocation.  Then  she  motions  the  croivn 
away  toward  the  shrine.) 

Myriel 
Not  to  me;  to  Her. 

Nuns  {within) 

Amen. 
(Myriel    goes     slowly     into    the     abbey. 
Auburn  crosses  to  the  shrine,  holding  up 
the   crown    before   it.      The   sunset   has 
faded  into  dusk.) 

CoRVAiN  {watching  him) 
Holds  the  world  such  another  John-a-Dreanis.'* 
{He  disappears  in  the  darkness  up  right.) 

Nuns  {within) 
Ave  Mater,  quae  primaevae 
Matris  mala  pellis  Evae, 
Filium  prolata  saevae 

Genti  nostrae  Dominum. 

{It  is  by  vow  twilight.  A  faint  mist  rises 
out  of  the  chasm  and  films  the  scene. 
Auburn  crosses  to  the  shrine,  and  stands 
with  bowed  head  before  it.  His  soliloquy 
which  follows  is  heard  against  the  singing 
of  the  nuns  off'  stage:  that  is  to  say,  it  is 
not  interrupted  for  interpolations  from 
the  Nuns'  Chorus — that  is  a  mere 
convenience  of  printing.) 

Auburn 
Mother,  my  more  than  mother,  thou  whose  eyes 
Out  of  all  azure  skies  look  down  on  me — 
Whose  hand  is  in  the  cool  brush  of  the  breeze 
Over  my  brow,  whose  voice  hums  lullaby 


12 


FAIRYLAND 


Where  brooks  laugh  in  the  sun,  whose  robe 

flows  green 
Along  the  springtime — 

Nuns  (without) 
Quando  tandem,  quando  fore 
Ut  laetanti  cum  tremore 
Sponsus  mihi  in  decore 
Paret  intra  patriam? 

Auburn 

Lo,  now  even  I, 
A  prince  of  dreams,  lay  my  poor  glory  down. 
Lady,  before  the  darkness  of  thy  shrine, 
While  I  go  forth  to  find  thee.    O  let  me  learn 
The  beauty  painted  here  in  shadow  and  sun; 
The  love  that  is  the  meaning  of  this  dream 
Wherein  we  toss,  longing;  the  harmony 
Where  all  earth's  dissonances  close  and  cling 
Satisfied,  full  of  sleep. 

Nuns  (without) 
O  amator  amplectende, 
Totam  me  in  sinu  prende, 
Floris  gloriae  ostende 
Ima  penetralia. 

Auburn 

Rose  of  the  World ! 
Lift  up  mine  eyes  from  loving  dust,  and  let 
Thy  glory  swim  before  me  as  a  star 
Guiding  my  happiness  to  Bethlehem ! 
Lift  up  my  heart.  Rose  of  the  World,  and  show 
Thy  wonder  opening  as  a  rose  unfoldeth 
Her  deep  heart  under  the  dawn — Star  of  the 

Sea ! — 
Rose  of  the  World ! 

{During  Auburn's  invocation,  Corvain 
clambers  stealthily  out  of  the  gulf,  and 
creeps  up  behind  him.  In  the  deepening 
gloom,  his  coming  might  hardly  be 
noticed  bid  that  he  is  heralded  by  a  faint 
growl  of  thunder  from  the  Orchestra. 
As  Auburn  sings  his  closing  lines, 
Corvain  half  draws  his  sword;  changes 
his  mind  and  returns  it  to  its  sheath; 


then  grasps  the  croum  and  sivings  it 
high  over  the  head  of  the  kneeling  figure, 
just  as  Auburn  sings  the  last  phrase. 
At  the  same  instant  a  flash  of  lightning 
makes  the  picture  stand  out  in  momen- 
tary relief. 

Corvain  strikes.  Auburn  falls  forward 
senseless.  Almost  at  the  same  moment, 
the  Rose  within  the  shrine  breaks  into  a 
point  of  red  light,  and  in  the  distance  the 
music  of  the  Fairy  chorus  is  heard  against 
the  singing  of  the  Nuns.  Corvain 
shrivels  back,  staring  at  the  red  light. 
As  the  fairy  music  grows  nearer  and 
louder,  he  runs  wildly  hither  and  yon, 
headed  back  each  time  by  a  momentary 
gleam  of  light  from  the  heart  of  some 
flower;  and  at  last,  he  flings  aivay  the 
crown  and  rushes  off  among  the  rocks 
on  the  right.) 

Chorus  of  Fairies  (off  stage) 
When  the  summer  day  is  done. 
And  the  saints  in  heaven  sleeping 
Leave  the  earth  in  elfin  keeping, 

At  the  setting  of  the  sun — 
Waken,  Little  Folk,  awaken! 
Here  are  fears  to  be  forsaken, 
Treasure  given,  pleasure  taken; 

Follow,  follow,  every  one! 
(Two  Fairies  with  brooms  enter  right  and 
left,  and  cross  the  stage,  sweeping  away 
the  mist.  Then  four  others  with  wands, 
who  advance  to  the  shrine  and  kindle 
their  wands  at  the  red  light  within,  then 
go  about  lighting  up  little  colored  lights 
in  all  the  flowers.  The  scene  brightens 
into  a  colorfid  and  unearthly  radiance; 
but  the  interior  of  the  shrine  is  still  dark 
save  for  the  small  red  glow  of  the  Rose.) 

Fairies  (entering) 
When  the  breezes  breathe  in  tune, 
And  the  light  of  wonder  hovers 
Round  the  hearts  of  happy  lovers 
At  the  rising  of  the  moon — 


FAIRYLAND 


13 


Fill  and  thrill  them  with  the  power 
And  the  passion  of  the  hour, 
That  embosom  and  embower 
All  the  mystery  of  June! 

{The  chasm  fills  with  a  mass  of  misty  light, 
over  which,  as  over  a  solid  substance, 
the  Fairies  troop  on  the  stage,  singing 
and  dancing.  The  whole  background  of 
the  scene  is  a  cloud  of  colored  light.) 

Fairies 

When  the  veils  of  earth  are  torn, 
And  a  yearning  and  a  yearning 
Set  the  rose  of  beauty  burning 

In  the  hush  before  the  morn, — 
Throng  around  them,  where  the  golden 
Joy  hath  drowned  them,  and  the  olden 
Wonder  crowned  them  unbeholden 

In  a  Fairyland  reborn! 

(At  the  end  of  the  chorus,  Robin  enters  with 
a  great  cup  in  his  hands.  Standing  by 
the  shrine  and  before  Auburn,  he  ad- 
dresses the  Chorus.) 

Robin 
Ye  who  are  free  of  worlds  beyond  the  portal, 
Honor  with  me  the  dream  wherefrom  we 
spring, 
The  mortal  joy  that  maketh  us  immortal: 
Health  to  our  Queen  and  King! 

Chorus 

Our  Queen  and  King! 

(He  raises  the  cup  so  that  the  light  from  the 
shrine  catches  the  wine  in  it,  drinks, 
and  scatters  the  last  drops  upon  Auburn, 
who  rises  slowly  to  his  feet,  looking  about 
amazed.  As  he  turns  toward  the  shrine, 
the  interior  thereof  is  suddenly  illumin- 
ated, disclosing  instead  of  the  image  of 
the  Virgin,  Rosamund  enthroned.  Be- 
fore her  the  magic  Rose  grows  out  of  the 
earth,  its  blossom  just  below  her  breast, 
and  the  light  of  it  reddening  from  beneath 


her  white  robe  and  her  face.     She  and 
Auburn  look  in  wonder  upon  each  other.) 

Auburn 
Lo,  that  one  beauty,  fair  beyond  all  seeming, 
More  than  mine  eyes  may  compass  or  re- 
ceive— 
Surely  of  this  my  life  was  only  dreaming, 
And  yet — I  live! 

Chorus 
Fairyland ! 

Rosamund 
Lo,  the  one  joy  too  dear  for  disobeying. 

More  than  my  heart  may  fathom,  lest  it 
break — 
Surely  for  this  my  dreams  were  only  praying. 
And  yet — I  wake ! 

Chorus 
Fairyland ! 

Auburn  {coming  before  her,  aivestricken) 
Art  thou  not  she  that  is  crowned  queen  in 
heaven? 

Rosamund 
I  have  no  heaven  but  thou  art  lord  thereof, . . 
No  crown,  saving  the  rapture  thou  hast  given. 

Auburn 
O  love,  my  love! 

{He  kneels  at  her  feet.    She  bends  above  him, 
her  hands  upon  his  head.) 

Chorus 
Fairyland !    Fairyland !    Fairyland ! 

Robin 

{in  the  centre  of  the  stage,  to  the  left  of  the 
shrine:  the  Chorus  grouped  around  the 
edges  of  the  scene) 
Rose  of  the  world,  they  are  lost  who  would  find 
thee. 
Star  of  the  sea,  they  grow  weary  and  weep. 
Running  before  crowned   with   thorns,   and 
behind  thee 
Drowned  in  thy  light  on  the  deep; 


14 


FAIRYLAND 


Yet  shall   they   come   through   mistake   and 
misnammg 
Where  thou  art  holy  at  last,  being  whole — 
Having  a  rose  for  thy  flesh,  and  a  flaming 
Star  for  a  soul. 

Yea,  thou  shalt  lead  them  to  wonderful  places 

Ere  they  discover  how  laughter  redeems 
Beauty,  and  shame,  looking  dreamward,  em- 
braces 
Love,  the  unconquered  of  dreams. 
Heaven,  earth  and  hell  shall  they  range  un- 
forbidden. 
Strong  in  command  of  the  glory  that  grows 
Out  of  the  dust,  understanding  the  hidden 
Fire  in  the  rose. 

Chorus 
Crown  them!    Crown  them!    Crown  them! 

(Auburn  is  seated  beside  Rosamund.  The 
Fairies  throng  about,  crowning  them 
with  garlands  and  strewing  flowers  before 
them.  This  goes  on  during  the  duet 
following,  which  is  sung  against  the 
interpolated  stanzas  for  the  chorus.) 

Auburn 

Now  it  is  won:  in  the  hour  of  proud  surrender. 

Leans   my   queen  from   her  throne  thrice 

glorified, 

Down  upon  mine,  undenying,  divinely  tender. 

Bending  the  eyes  of  a  mother,  the  eyes  of 

a  child,  the  eyes  of  a  bride. 

Chorus 

Where  lies  the  road  to  Fairyland?    Over  the  hills 
of  dawn. 
Under  the  seas  of  sunset,  yonder  on  every  hand. 
Whithersoever  a  soul  shall  follow  the  one  star  far 
withdrawn 
At  the  end  of  the  world,  is  the  way  unfurled 
that  leads  to  Fairyland. 


Rosamund 
Now  it  is  done:  as  a  song  that  songs  remember, 

Cometh  my  lord  to  his  own  inheriting. 
Over    the    heart    made    pure   for    his    bridat 
chamber 
Folding  the  arms  of  a  lover,  the  arms  of  a 
man,  the  arms  of  a  king. 

Chorus 
What  shall  we  find  in  Fairyland?    Whatever  the 
tales  have  told. 
Whatever  the  songs  have  longed  for,  whatever 
the  children  planned: 
Folly  deeper  than  wisdom,  beauty  brighter  than 
gold. 
Laughter  and  tears  from  all  the  years  in  the 
light  of  Fairyland! 

Auburn,  Rosamund,  Robin 
Now    it   is   known:   the   kingdom    of   fancy, 
founded 
Firm  in  the  flesh  that  hungers,  the  soul  that 
knows. 
Throned    upon    clay,    with    fire    as    a    robe 
surrounded. 

Auburn 
Crowned  with  the  light  of  heaven — 

Rosamund 
The  light  of  a  dream — 

Robin 
The  light  of  the  Rose! 

Chorus 
Who  shall  be  king  in  Fairyland?    He  that  will 
not  forgo 
Eyes  to  see  and  ears  to  hear  and  a  heart  to 
understand. 
Who  shall  be  queen?     A  child  and  a  woman. 
Verily  they  shall  know 
Heaven  in  earth  and  earth  in  heaven   and 
both  in  Fairyland! 

Curtain. 


ACT  THE  SECOND 

The  Castle  of  the  King 
Noon 


ACT  THE  SECOND 


The  scene  represents  a  courtyard  or  paved 
terrace  in  the  castle  of  Corvain,  which  is 
situated  upon  a  precipitous  rock  in  that 
corner  of  the  valley  which  is  to  the  right 
of  the  abbey.  The  distance,  as  before, 
shows  the  village  in  the  opposite  corner  of 
the  valley;  but  in  this  case  to  left  of  the 
centre;  and  the  diagonal  ridge  of  hills  runs 
back  from  right  to  left.  Moreover,  since  we 
are  now  raised  high  above  the  level  of  the 
valley,  the  distance  appears  only  upon  the 
\  back  drop,  and  the  middle  distance  is 
invisible.  On  the  extreme  right  is  the  front 
of  the  main  building,  a  high  Gothic  porch 
running  some  two  thirds  of  the  way  up 
stage;  with  a  doorway  under  the  shadow  of 
it.  The  upper  third  of  the  practicable,  from 
the  upper  corner  of  the  porch  straight 
across  to  the  left,  is  raised  to  the  same  height 
as  the  porch  itself;  its  upper  edge  is  bounded 
by  a  balustrade,  beyond  ivhich  the  top  of  the 
outer  castle  wall  is  just  visible,  as  being 
lower  down  the  slope.  This  raised  portion 
comes  down  to  the  main  stage  level  in  a  broad 
flight  of  steps  which  runs  along  its  whole 
length,  and  meets  at  right  angles  a  similar 
flight  of  steps  running  down  the  whole  front 
of  the  porch:  so  that  the  general  effect  is  of  a 
shallow  amphitheatre,  all  of  clean  bright 
stone.  There  is  not  a  green  or  growing 
thing  in  sight,  except  in  the  distance.  En- 
trances and  exits  are  to  left  and  right  of  the 
raised  upper  portion,  and  through  the 
doorway  in  the  porch.  There  are  two  or 
three  rigid  stone  seats  along  the  parapet 
and  another  down  left  centre  on  the  lower 
level.  A  small  but  rather  ornate  chair 
stands  up  right  centre  upon  the  raised 
portion.     Full  sunlight  throughout  the  act. 

At  the  curtain-rise,  Corvain  is  standing  at  the 
head  of  the  porch  steps  as  though  just  come 


out  of  the  building.  He  is  royally  dressed, 
a  gorgeous  mass  of  flowing  color;  and  the 
change  in  his  manner  since  the  first  act  is 
at  once  apparent.  He  is  now  secure  in 
everything  he  had  coveted;  and  he  carries 
it  off  with  an  air  of  lazy  and  sardonic 
supremacy — the  dignity  of  the  gorged  tiger. 
A  group  of  Men-at-arms  are  standing 
about  him,  one  of  ivhom  is  in  the  act  of 
delivering  a  message  from  some  one  off 
stage  to  the  left. 

Man-at-arms 
.     .     .     Therefore  they  pray  my  Lord — 

Corvain 
{lazily,  without  waiting  for  him  to  finish) 

Go  bring  them  in. 
They  shall  be  heard. 

(He  moves  deliberately  up  to  the  parapet  and 
looks  out,  as  the  Man-at-arms  goes  off, 
left.) 

When  we  met  last,  we  looked 
On  yonder  valley  from  the  abbey-side. 
Now  we  are  here. 

{He  seats  himself  in  the  chair.) 

Surely  they  shall  be  heard. 

{The  soldier  returns  at  once  with  Robin  and 
half  a  dozen  miserable  looking  peasants, 
among  them  The  Forester  and  The 
Old  Man.  Robin  comes  forward  and 
kneels  before  Corvain,  u-ho  recognizes 
him  with  malicious  triumph.) 

Robin 
Justice,  lord  King! 

Corvain 

How  now — fellow? 

Robin  {rising  and  indicating  the  peasants) 

These  folk, 
Thy  people — 


17 


18 


FAIRYLAND 


CORVAIN 

Not  my  fellows?    Lord,  how  light 
These  honors  fall!    What  seek  my — people? 

Robin  {angry  and  humiliated,  but  with  some 
tincture  of  his  grotesque  humor) 

Oh, 
A  trifle.     Here!          (beckoning) 

This  woman  had  no  bread, 
Wherefore   her   babe    died.      That    old    dog, 

being  tired 
Of  honest  hunger,  stole.     See,  his  gray  hair 
Hides  no  ears.     Yonder  rascal,  having  lost 
Roof,  corn  and  cattle,  shot  the  King's  deer. 

Look — 
No  more  archery ! 

{showing  stump  of  the  man's  right  hand) 
Sir,  we  are  broke  down 
With  too  much  honor.    One  crown  is  enough — 
We  are  too  frail  to  bear  the  weight  of  two. 

CoRVAIN 

Well — I  forgive  them. 

Robin 

My  lord,  Myriel, 
Claiming  our  land  for  God's  kingdom,  declares 
Herself    His     treasurer.       Good — Thou     art 

king- 
Must  we  pay  twice? 

CORVAIN 

Nay  surely.    That  were  foul  wrong. 
Once  is  enough.    Pay  me. 

Robin 

Sir,  we  have  paid 
Her  already. 

CoRVAIN 

So!    What  is  that  to  me? 
Go  to  her. 

Robin 
To  her? 

Corvain 
Would  ye  have  your  king 
Kinder  than  God? 


Robin 
God  help  us !    Wilt  thou  press 
Wine  out  of  dry  grapes? 

Corvain  {yawning) 

I  will  even  try. — 
Give  ye  good-den — Brother. 


Robin 


Brother!  Beware 


Thine  own  brother! 


Corvain  {motioning  to  the  soldiers) 

These  good  folk  weary  me. 
Answer  them. 

{Before  his  last  word  is  out,  the  Men-at- 
arms  have  sprung  forward,  and  are 
driving  the  Peasants  back.  Their 
protests  and  the  retorts  of  the  Men-at- 
arms  form  a  confusion  of  sound  which 
lasts  while  the  Peasants  are  driven 
clear  off  stage  to  the  left.) 

Chorus 
(Peasants) 
Colin,  Tibbal,  Bartlemy! 

(Men-at-arms) 
Out,  ye  beggars!    Dogs,  go  hang! 

(The  Woman) 
Will  ye  turn  on  us  who  sprang 
From  your  own  blood? 

(First  Man-at-arms) 

Ay,  will  we! 

(Peasants) 
— Colin,  Tibbal,  Bartlemy — 

(The  Old  Man) 
— Are  ye  not  ourselves? 

(Second  Man-at-arms) 

{presenting  his  spear) 

— Marry, 
Not  by  the  length  of  this ! 


FAIRYLAND 


19 


(The  Forester) 

We  be 
Dogs,  ell?    Beware  of  claw  and  fang! 

(Men-at-arms) 
Out,  ye  beggars!    Dogs,  go  hang!_ 

(CoRVAix,  meanwhile,  leans  hack  in  his 
chair  ivith  his  feet  thrust  out  in  front  of 
him,  calmly  enjoying  the  proceedings. 
Against  the  dying  away  of  the  choral 
disturbance  off  stage,  the  orchestra  an- 
nounces Rosamund.  Corvain  looks  off 
left  with  indolent  curiosity.) 

What  now? — Marry,  here  be  more 
Seekers  after  lost  kings. — 

(The  soldiers  return,  bringing  Rosamund, 
footsore  and  afraid.  Corvain  starts  as 
he  sees  her,  and  turns  upon  the  soldiers.) 

Corvain 

Lo,  my  sweet  saint 
Of  the  abbey  !— 

(to  the  soldiers) 

Let  her  go!     When  angels  fall. 
The  better  for  the  world. 

(Rosamund  comes  hesitatingly  down  the 
steps  toward  him.  The  soldiers  sta)id 
above,  curious  and  pointing.) 

Corvain  (to  the  soldiers) 
Leave  us! 

{They  disperse  right  and  left.  Rosamund 
approaches  Corvain.) 

Rosamund  {timidly) 

My  lord. 
Where  lies  the  road  to  Fairyland? 

Corvain  {amazed  and  amused) 

The  road 
To —  Pretty  one,  so  call  whichever  way 
Was  thine  to  follow  hither. 

Rosamund 

Nay,  but  I  seek 
The  King  in  Fairyland. 


Corvain  {humoring  her) 

He  is  found.    I 
Am  the  King  hereabout. 

Rosamund 

Thou  dost  not  know. 
{Coming  up  to  hitn,  with  a  sort  of  despairing 
confidence.) 
Sir,  I  beseech  thee  of  thy  gentleness. 
Make  no  jest  of  me.    I  have —  I  have  known 
The  prince  of  faery  in  a  waking  dream, 
And  I  will  follow  him  to  Fairyland 
And  find  him,  and  delight  him,  or  I  die. 

Corvain 
When  the  nuns  find  thee,  thou  shalt  surely  die. 
But  for  me — thou  art  safe  with  me.     Nay, 

then, 
Beautiful  child,  look  upon  me,  look  well — 
Dost  thou  not  remember? 

Rosamund 

Surely.    Corvain, 
The  King— 

Corvain 
Thy  king. 

Rosamund  {with  something  like  horror) 
Thou! 

Corvain  {confidently) 

Look  again — 

(Rosamund,  between  hope  and  horror,  per- 
ceives the  mere  brotherly  resemblance. 
She  is  certain  this  is  the  ivrong  man,  and 
yet—) 

Rosamund  {fascinated) 

Like — ay, 
Strangely  like — -yet — thou  art  not  the  same — 
There  is  no  wonder  in  thine  eyes. 

Corvain 

Who  knows 
His  dream  by  daylight?    Who  hath  known  in 

dreams 
Anything  unremembered?    Come  to  me! 
Now  I  will  show  thee  all  of  Fairyland 
That  is  true !  Thou  hast  found  thy  prince  a  king ! 


20 


FAIRYLAND 


(Rosamund  suddenly  breaks  from  her 
hesitation,  and  puts  out  her  hands  to  him.) 

Rosamund 
Touch  me — 

{He  catches  both  her  hands  and  draws  her  to 
him.  The  Orchestra  buries  a  slight 
suggestion  of  Auburn  under  a  harshly 
emphasized  suggestion  of  Corvain. 
Instantly,  she  shriyiks  and  struggles 
away.) 

No,  no,  it  is  all  wrong,  all  wrong ! 
Thou  dost  not  know. 

Corvain  (coolly) 

I  know  this:    Myriel 
"VYill  burn  thee — burn  thee  with  fire. 

{watching  her)  Standing  so 

The  lash  behind  thee  and  the  love  before — 
Choose  between  that  flame  and  this !    Sweet, 

am  I  not 
Thy  master  ?  Surely  thou  hast  found  thy  dream . 
{She  turns  to  fly.    Corvain  raises  his  hand, 
and  the  entrances  fill  with  his  Men-at- 
arms.     Rosamund  glances  desperately 
round,  then  wilts  upon  the    bench,    left 
centre.) 
They  who  come  here,  abide  here,  sweetheart. 
Wait 

{He  turns  away,  then  pauses  at  the  door.) 
Thine  own  time.     Thou  art  safe  with  me. 
Think  well! 

{He  goes  into  the  castle,  after  dismissing  by 
a  gesture  the  Men-at-arms.) 

Rosamund 
O  far  away,  beyond  all  human  need 
The  songs  and  flowers  and  crowns  of  Fairyland ! 
Why  must  t^e  pain  seem  truer  than  the  joy- 
Ever  the  wrong  so  brave,  the  hope  so  frail, 
Ever  the  day  so  long,  the  dream  so  far! 
And  yet —  Am  I  so  faithless?    Heart  of  mine, 
Have   I   not   known.'*     Surely   these   hollow 

towers 
Will  melt  in  melody  down,  and  these  vain 

stones 


Blaze  into  bloom,  and  over  the  dark  of  the 

world 
The  dawn  of  Fairyland  rise  up  like  fire. 
Hearing  what  songs  the  Little  People  sing! 

{She  is  on  her  feet,  exalted  with  the  memory  of 
her  vision.  The  song  that  follows  is 
musically  an  attempt  to  remember  the 
Song  of  the  Rose  at  the  end  of  Act  I.) 

Chorus  (q^  stage) 
Fairyland !  Fairyland !    Lo,  a  miracle,  a  song ! 

Rosamund 
In  a  garden  glad  and  green 
Blooms  a  rose,  unknown,  unseen. 
Ruby-bosomed  like  a  flame. 
Holy,  like  a  holy  name; 
All  the  world  hath  part  and  right 
In  the  garden's  rich  delight : 
Each  may  gather  all  he  knows — 
I  alone  have  known  the  Rose ! 

Through  a  world  of  waste  and  wrong 

Flows  a  benison  of  song. 

Pouring  on  the  multitude 

All  their  souls  can  bear  of  good; 

Bringing  them  who  know  and  care 

Beauty,  laughter,  pain  and  prayer — 

Each  his  own  realities — 

Mine  the  singer's  lips  and  eyes ! 

{Breaking  the  hush  at  the  close  comes  a 
crackle  of  men's  laughter  off  stage,  left. 
Robin  enters,  more  interested  in  Rosa- 
mund than  in  what  is  behind  him.  An 
instant  later  Avbvrn follows,  pausing  up 
left  to  speak  to  the  soldiers  off  stage.  He 
is  dressed  as  a  pilgrim,  but  noticeably 
tattered  and  disheveled;  arid  the  hair 
which  straggles  from  under  his  cockle-hat 
is  nearly  white.  Except  for  his  face  and 
gestures,  which  remain  'incongruously 
young,  he  appears  supernaturally  aged 
and  altered;  like  an  old  man  retaining 
all  but  the  surface  of  youth,  or  a  young 
inan  who  had  contrived  to  put  on  age  like 


FAIRYLAND 


21 


a  garment.  The  Rose  is  fastened  in  the 
hosom  of  his  gown — a  'perfectly  ordinary 
stage  flower  with  no  light  in  it.) 

Auburn 
Peace!    Am  I  not  your  king? 

{laughter  again,  off  stage) 

Robin  {to  Rosamund) 

That  is  not  like 
The  songs  our  mothers  sang  of  Fairyland. 

{She  has  eyes  only  for  Auburn,  loho  slowly 
turns  and  comes  down.) 

Rosamund  {passing  Robin) 
Fairyland ! 

(Auburn  comes  down  the  steps,  facing  her. 
She  recognizes  him  as  if  he  were  un- 
changed.) 

— Thou  art  come! 

{She  rushes  forward,  as  if  to  throio  herself 
into  his  arms;  but  his  blank  stare  meets 
her  like  a  blow.  She  stops  transfixed, 
while  he  speaks.) 


Auburn 


Beautiful  stranger- 


Lady  most  fair. 


Rosamund 

Oh,  my  Lord,  thou — thou! 
Thou  dost  not  know! 

{It  is  less  a  reproach  than  a  sheer  cry  of 
pain,  contrasted  with  her  cry  of  joy  a 
moment  since.  She  stumbles  blindly 
toward  him,  groping  with  her  hands,  and 
sinks  at  his  feet.  Auburn  turns  to 
Robin.) 

Auburn 

Who  is  this? 

Robin 

One  who  knows 
Thee:  a  strange  creature. —  Now  if,  thou  be 

king. 
Marry,  what  king? 


Auburn 
Your  own  king.    Auburn.    Who 


Should  I  be? 


Rosamund 
He  is  king  in  Fairyland! 

Robin 
Maybe.    Not  at  home  here — nor  here. 

{tapping  his  forehead)  Good  sir, 

We  have  all  seen  Auburn! 

Auburn  {to  Rosamund) 

What  dost  thou  know 
Of  Fairyland? 

Rosamund 
Nothing  now. 

Auburn 

Ye  shall  know 
More,  having  seen  what  wonders  I  have  known. 
Children    of    earth,    think    ye    this    blossom 

bloomed 
In  any  earthly  garden? 

Robin 

I  have  seen 
Such  a  one  flowering  in  a  wayside  hedge. 
Reddening  before  dim  altars — ay,  sometimes 
Even  in  kings'  crowns. 

Auburn  {to  Rosamund) 

What  dost  thou  say? 

Rosamund 

Not  like 

The  Rose  of  Fairyland. 

Robin 

See  there,  now! 


Auburn 


Go!- 


Are  your  ears  faithless?  Then  believe  your  eyes! 
Rouse  the  village,  gather  my  people  here 
And  ye  shall  see,  deep  in  the  heart  of  the  rose. 
The  light  of  Fairyland  burn  forth  like  fire, 
And  hear  what  songs  the  Little  People  sing 
To  crown  their  own ! 


22 


FAIRYLAND 


Robin 

I  cannot  call  to  mind 
That  Auburn  wrought  miracles — 

{His  half-ironical  unbelief  is  too  much  for 
Rosamund.  She  does  not  believe  any- 
thing herself,  just  noiv;  but  that  any 
other  'person  slwuld  venture  to  doubt 
Auburn  throws  her  into  a  fine  feminine 
rage.  She  advances  imperiously  upon 
Robin.) 

Rosamund 

Out!  Away! 
Thou  earth!    Thou  scornful  nothing!     Who 

art  thou — 
Dross  of  the  furrow,  drainage  of  the  vine, 
Waste  water  flung  away  into  the  mire — 
Thou.     .     .     judge.     .     .     him!  Begone! Do 
his  bidding! 

Robin 

Nay, 
Here  is  one  who  believes !    I  go.    .     . 

(He  turns  up  right.)  Take  heed, 

Brother — roses  have  thorns.     Ay,  and  crowns 

too. — 
It  is  not  good  to  walk  too  near  a  throne ! 
(exit) 
(Rosamund  reacts  from  anger  to  timidity 
and  comes  hesitatingly  to  Auburn,  who 
is  looking  after  Robin.) 

Rosamund 
Dost  thou  not  remember? 

Auburn  {full  of  his  own  concerns) 

Am  I  so  changed? — 
Lo,  since  I  woke  into  the  world  again, 
None  remember !    My  people  mock  at  me — 
No  matter.    They  shall  know  soon. 

Rosamund 

Thou  and  I — 
Were  we  not  crowned  in  Fairyland? 

Auburn 

I  have  been 
King  in  Fairyland.    Also  I  am  king 
Here.    Dost  thou  know? 


Should  be  king. 


Rosamund 

I  have  dreamed  such  a  one 
Tell  me. 


{He  is  seated  wearily  on  the  stone  bench, 
down  left;  she  at  his  feet,  looking  up  at 
him.  Against  Auburn's  account  of  his 
vision  is  an  orchestral  reminiscence  of  the 
abbey  music.  To  this  Myriel  enters 
up  left,  in  the  gorgeous  purple  and  gold 
of  the  mitred  abbess,  and  comes  forward 
to  the  head  of  the  steps  up  centra;  the 
Nuns  gathering  like  a  black  cloud  up  left, 
as  the  scene  goes  on.  Auburn  and  Rosa- 
mund, uiith  the  stone  seat  screening  them, 
are  utterly  unconscious:  she  intent  upon 
him,  and  he  upon  his  dream.) 

Auburn 

While  I  prayed,  there  fell 
Darkness;    and   out   of   darkness   brake   like 

flame 
A  glory  of  strange  joy,  and  all  around 
Fairies  dancing,  and  a  red  rose  that  burned 
With  a  star  for  the  heart  thereof — 


Rosamund 


Was  there 


No  queen? — 


AuEfURN  {almost  in  a  trance) 
She  sat  above  me,  throned  on  flowers 
And  crowned  with  stars,   all  heaven  in  her 

eyes. 
And  on  her  breast  the  Rose  of  all  the  World — 

{half  rousing  himself) 
Thou  art  here,  at  my  feet. — 
{relapsing  into  his  r every) 

And  thereupon 
Suddenly  clanged  the  abbey  bell. — The  fire 
In  the  heart  of  the  rose  faded,  and  there  came 
Lightning,   sharp    as    the    wail   of    women's 

prayers, 
And  thunder,  like  the  laughter  of  strange  men. 
And  broke  the  vision. 


FAIRYLAND 


23 


(Rosamund  raises  her  eyes  and  arms  to 
him,  as  Myriel,  ivith  the  last  lines  of 
Auburn's  dream,  comes  doiim  where  she 
can  see  them,  and  pauses  an  instant 
astonished,  with  a  backward  sweep  of  her 
robes.  Auburn  and  Rosamund,  looking 
into  each  other  s  eyes,  are  for  an  instant 
oblivious  of  her.  In  that  instant  a  point 
of  red  light  appears  in  the  Rose,  and  as 
if  lit  thereby,  a  faint  light  of  recognition 
in  Auburn's  face.  The  next  instant 
Myriel  has  broken  the  spell.) 

Rosamund  (her  hands  behind  Auburn's  head, 
as  the  Rose  flashes) 

Dear,  look  upon  me — 
Look  well! 

Auburn 
Rose  of  the  World! 

(Myriel  towers  above  them,  with  uplifted 
arms,  the  shadow  of  her  falling  in  the 
form  of  a  cross  between  them.  Instantly 
the  light  in  the  Rose  vanishes,  and  there- 
with the  recognition  in  Auburn's  face.) 

Myriel 

Forbear ! — 

(Rosamund  shrinks  back  to  the  left.  Au- 
burn rises.) 

Rosamund  (to  Myriel) 

Hast  thou 
Found  me  so  soon? 

Myriel 
Let  her  not  escape ! 

{This  is  spoken  to  the  Nuns,  The  circle 
of  them  closes  in  upon  Rosamund  like 
two  black  wings;  but  as  she  rises  from 
her  crouching  position  and  stands  erect, 
they  shrink  away  from  her,  rustling  and 
whispering.  Myriel  has  turned  to 
bend  reverently  before  Auburn  as  he 
rises  in  protest;  and  her  next  words  are 
to  him.) 

Nay, 


Father,  she  is  beyond  thy  charity — 
A  torn  veil,  a  soul  ruined,  a  lost  nun: 
Waste  not  heaven  upon  such ! 

Auburn 

Myriel, 
Dost  thou  know  me? 

Myriel 

I  know  thee  for  a  saint 
Out  of  the  Holy  Land,  having  beheld 
In  a  vision  the  very  Mother,  crowned 
Among  angels — 

Rosamund  {half  aside) 

Ah,  but  she  does  not  know 
What  we  have  known ! 

Auburn 
Thou  shalt  know  more  of  heaven 
Soon,  having  seen  Fairyland. —    Even  now 
The  King  comes.    Presently  I  shall  be  king. 

(He  goes  up  stage  and  stands  looking  out  over 
the  parapet,  2tp  right  centre.  Corvain 
appears  in  the  porch,  a  group  of  Men- 
at-arms  following  through  the  doorway. 
He  takes  in  the  situation  of  Rosamund's 
capture  ivith  one  triumphant  glance;  but 
does  not  see  Auburn  at  all.) 

Corvain 
Heaven's  angels  come  to  help  us! 

{to  the  soldiers)  Abide  my  sign; 

We  do  not  draw  swords  on  a  flock  of  doves. 
We  spread  a  net  around  them. 

{The  Men-at-arms  disappear.  Corvain 
comes  down  the  steps  to  Myriel. 
Speaking  with  sarcastic  deference.) 

Good  Mother, 
This  place  is  earthly — carnal;  and  this  hour 
Appointed  for  such  joys  as  are  not  thine: — 
What  is  thy  will? 

Myriel 
Nothing  more.    Here  is  one 
Who  fled  from  us.    We  have  found  her. 


24 


FAIRYLAND 


CORVAIN 

Not  SO ! 
Ye  have  lost  her.    It  is  I  who  have  found. 
She  is  beyond  your  danger. 

Myriel 

Corvain,  thou  art  King 
While  God  waits.    Beware! 

Corvain 
Meanwhile,  the  King  reigns ! 
Meanwhile,  I  do  my  will !  Ye  have  a  scourge 
There,  Mother,  not  a  sword — a  lash,  to  drive 
This  pretty  trembler  into  my  arms,  a  spur 
To  prick  her  on  to  pleasure.  Look  upon  her 
Shrinking  there — look  upon  me,  and  rage  to 

know 
Ye  cannot  work  us  harm.    Cloister  yourselves 
From  the  bloom  of  all  forgone  joy,  whose  grave 
Rankles  your  consecrated  flesh.    Toil,  pray. 
Dream,  and  close  your  eyes!    I  have  opened 

mine : 
I  see  how  richly  we  may  drink  who  dare. 
What  crowns  long  to  be  conquered;  and  I  see 
Only  a  fallow  drouth  of  women  here, 
Hating  and  yearning. 

Myriel  {quietly,  to  the  nuns) 

Let  us  leave  him  now. 
Take  her. 

(She  moves  toward  the  exit  up  left.  Cor- 
vain raises  his  arm,  and  the  gates  again 
fill  with  soldiers.) 

Corvain 
Ay,  take  her! 

Myriel 

Corvain ! 

{They  face  each  other:  she  sacredly  enraged,  he 
sneering  and  triumphant.  There  is  an 
instant  of  tense  pause.  Then  the  ap- 
proach of  tJie  Chorus  is  indicated  in  the 
Orchestra.  And  with  that.  Auburn,  as 
having    suddenly    seen    that    which    he 


awaited,  turns  and.  comes  down  between 
Myriel  and  Corvain,  with  a  hearing 
of  absolute  authority.) 

Auburn 

Abide  my  sign: 
It  is  not  yours  to  say  what  ye  will  do; 
I  am  the  King. 

{Tableau  of  astonishment:  Myriel  and 
Rosamund  shoioing  by  pose  and  gesture 
what  each  conceives  Auburn  to  be;  while 
the  Orchestra  and  Chorus  show  the 
nearer  approach  of  the  crowd.  One  stare 
at  the  apparition  before  him,  and  Cor- 
vain is  smitten  with  the  sudden  super- 
stitious panic  of  the  unbeliever  surprised.) 


Corvain 
To  me.  Men-at-arms!    Ho, 


King's  men! 


{The  Men-at-arms  rush  to  range  them- 
selves behind  and  around  him,  leaving 
clear  the  entrances  right  and  left.) 

Auburn 
Behold !    My  people  follow  me  I 

{As  he  speaks,  the  Chorus  burst  in  tumul- 
tuously  by  both  gates,  filling  the  raised 
platform  up  stage  and  crowding  forward 
down  the  steps:  a  peasantry  driven  des- 
perate, a  sheer  mob  mad  with  imminent 
revenge;  a  mass  of  snarling  faces  and 
tossing  hands  that  clutch  rude  weap- 
ons— scythes,  flails,  mattocks — moving, 
threatening  and  expectant.) 

Chorus 
Flame  shining,  blood  flowing, 

And  life  plowed  under  year  by  year — • 
The  seed  of  your  sowing 

Hath  ripened  its  load  of  pain; 
The  drudge  of  yoke  and  manger 
Ye  goaded  into  danger; 
Aroused,  overthrowing, 
•^Is  avenged  again! 


FAIRYLAND 


25 


From  watching,  from  weeping. 

From  days  of  shame  and  dreams  of  fear, 
We  rise  to  the  reaping, 

We  rush  to  the  standing  grain ! — 
Our  King,  returned  with  wonders 
Of  sorcery,  and  thunders 
Of  heaven  in  his  keeping, 

Shall  restore,  and  reign ! 

GoRVAiN  (in  a  gasp) 
Sorcery ! — 

Auburn 
Brother,  I  will  take  my  crown. 
Thou  hast  not  done  well  therewith, 

(He  faces  him  with  an  assurance  too  perfect 
for  any  violence.  Corvain,  half  re- 
covering, tries  to  carry  it  off  loith  an  as- 
sumption of  ridicule.) 

Corvain 

Brother ! — Crown ! — 
Look  at  him!     Listen  to  him!     Ye  redeless 

fools. 
Have  ye  ever  seen  Auburn? — 

{He  is  not  very  convincing;  but  the  crowd, 
always  sensitive  to  scepticism,  are  just 
enough  taken  aback  to  shoio  it.  They 
become  suddenly  many-headed,  peering 
andivrangling andgesticulatiyig.  Auburn 
does  not  deign  to  look  around.  Perfectly 
sure  and  unmoved,  he  slowly  draws  the 
Rose  from  his  breast  and  displays  it. 
Rosamund,  Myriel  and  the  Chorus 
cry  out  together  their  several  sense  of 
the  situation.) 

Auburn 

Watch,  and  be  still. 
There  is  no  need  for  you  to  understand; 
It  is  enough  that  ye  obey. 

Rosamund 

]My  Prince 
Of  Dreams,  at  last! 


Myriel 

Father,  a  miracle ! — 
Pull  down  the  strong   man,   pull  down  the 
strong  man ! 

Chorus 
Auburn!    Auburn!    A  song!    arose!    afire! 
Sorcery!    A  spell!    a  song!    afire!    Corvain! 

{This  comes  all  at  once,  a  confused  outcry  of 
expectation  following  close  upon  Au- 
burn's last  words.  He  noio  stej)s  a  feio 
paces  downcentre,  a  littlebelowthe  rest:  the 
scene  focussing  upon  him  as  he  holds  up 
the  Rose  before  him  with  both  hands,  and 
raising  his  eyes  to  it,  begins  his  invo- 
cation.) 

Auburn 
Rose  of  mystery,  Rose  of  all  the  World, 
If  ever  from  the  world  I  followed  thee 
Over  the  hills  of  dawn,  beyond  the  plains 
Of  sea  and  desert  breathless  beneath  noon. 
Through  midnight  forests  whispering  dread- 

fully, 
Till  I  came  to  thy  kingdom : —  bring  thou  me 
Home  now  to  mine!     Shine  forth!     So  they 

who  deny 
Thee  shall  behold  thy  heart  burning  like  fire. 
And  hear  what  songs  the  elfin  people  sing ! 

{A  momenVs  pause  follows  this  climax — 
just  not  quite  long  enough  to  make  the 
audience  think  that  the  failure  of  the  Rose 
to  light  up  is  accidental.  Then  there  is  a 
snarl  of  brass  and  drums  in  the  Or- 
chestra against  ivhich  Coryxin  throws 
back  his  head  and  laughs  aloud.  The 
Chorus  at  once  catch  up  his  laughter, 
echoing  it  from  part  to  part;  and  an 
orchestral  crescendo  carries  the  whole 
up  into  the  sound  of  a  great  gust  of 
wind  which  roars  across  the  stage.  The 
petals  are  blown  from  the  Rose  and 
scattered  on  the  ground;  and  Auburn 
stands  rigid,  grasping  the  bare  stem 
and  staring  into  nothingness.  Every 
figure  but  his  own  is  in  motion.     The 


S6 


FAIRYLAND 


Chorus  come  forward  and  to  the  right, 
mocking  and  threatening  him.  Presently 
he  sinks  down  into  a  sitting  posture  among 
the  scattered  petals,  gathering  them  up  and 
looking  at  them  with  a  kind  of  mechanical 
wonder.  He  neither  hears  nor  sees  any- 
thing else.  Rosamund  throws  herself 
down  beside  him,tryingto  see  into  his  face. 

The  chorus  lines  which  follow  are  dis- 
tributed among  different  parts  and 
different  individual  singers,  as  in  tJie 
case  of  the  ejection  of  the  peasants  at  the 
beginning  of  the  act:  so  that  the  effect  is  of 
a  confused  storm  of  laughter  and  mockery.) 

Chorus  (divided) 

Ha!  ha!  ha!  ha!  ho!  ho!  ho! 

Look  at  him!    Corvain!    Corvain! 

May  the  King  forever  reign ! 
Ah,  I  said  so !    I  said  so ! 
How  now,  wizard?    Do  your  worst! 
Bah,  I  knew  it  from  the  first! 

Old  wives'  tales  have  turned  his  brain. 

Look  at  him !    Corvain !    Corvain ! 
He'd  bewitch  us  if  he  durst! 
Come  away !    Ay,  let  us  go; 

We  have  heard  his  magic  strain, 
Seen  how  fairy  roses  blow — 
Ha!  ha!  ha!  ha!  ho!  ho!  ho! 

( The  ridicule  of  Auburn  throws  Rosamund 
into  a  wholly  unselfish  rage.  She  springs 
up  from  his  side  and  turns  upon  the 
Chorus,  railing  against  their  laughter: 
which,  however,  continues  uninterrupted 
from  the  point  where  Corvain  starts  it 
until  after  the  whole  Chorus  is  off  the 
stage.) 

Rosamund 

Have  done !  keep  silence,  clowns !     Have  your 

dull  dreams 
Beheld  Fairyland,  that  ye  dare  to  raise 
Riot  and  mockery  against  your  King? 


What  have  ye  known?     Dogs  baying  at  the 

moon, 
Moles  crying  out  against  the  morning  star! — 
Still  shameless?    Ay,  laugh!    So  your  breed  is 

known. 
Is  a  man  pure?    Laugh!    Is  a  woman  foul? 
Laugh!    When  a  child's  pain  wonders  out  of 

hell, 
Or  lovers'  joy  calls  down  new  souls  from 

heaven, 
Laugh !    Slap  your  knees  and  love  yourselves ! 

Laugh  on! 

{Her  advance  drives  them  back  up  stage, 
still  mocking  and  mowing,  and  brings  her 
face  to  face  with  Corvain,  who  is  by  now 
thoroughly  enjoying  himself.  He  holds 
out  his  arms  to  her  triumphantly;  and 
with  that,  she  wilts  out  of  her  anger  into 
personal  fear,  and  shrinks  away  toward 
Myriel.  Corvain's  angry  and  con- 
temptuous gesture  bids  them  begone;  and 
they  follow  the  Chorus  out  up  left,  the 
Nuns  closing  around  them.  The  sound 
of  laughter  dies  away  off  stage.  The  stage 
is  empty,  save  for  Auburn,  still  crouched 
among  the  fallen  petals;  Corvain,  stand- 
ing over  him;  and  the  impassive  Men- 
at-arms  in  the  background.) 

Corvain 
Hail,  John-a-Dreams!     . 

(Auburn  looks  vaguely  up  at  him.) 

What,  is  the  name  of  king 
So  great  a  matter?    So  ho! 

{He  turns  away  up  the  steps,  right.  At  the 
top,  he  pauses.) 

Give  ye  good-den. 
Brother ! 

{He  goes  into  the  castle.    The  doors  close.) 

Auburn  {softly) 
I  have  been  king  in  Fairyland. 

Slow  Curtain. 


ACT  THE  THIRD 

The  Village 
Dawn 


ACT  THE  THIRD 


The  scene  represents  an  open,  grassy spacein  the 
midst  of  the  village.  Parts  of  houses  just 
appear  to  right  and  left;  but  the  main  group 
of  them  is  vp  stage  beyond  the  practicable 
and  on  a  lower  level,  so  that  the  valley  is 
visible  beyond  them,  icith  the  abbey  and  the 
castle  upon  the  corners  of  the  hills  to  right 
and  left  in  the  extreme  distance:  their 
position  and  the  identical  arrangement  of 
the  topography  showing  that  ice  are  now  in 
the  village  ivkich  appeared  in  the  distance  of 
the  two  preceding  scenes.  Most  prominent 
among  its  buildings  is  the  tavern  placed 
in  the  centre  of  the  upper  edge  of  the  prac- 
ticable, its  doors  forming  the  entrance  there. 

Sufficient  trees  and  shrubbery  appear  about  the 
edges  of  the  sccn^  to  set  it  in  a  frame  of 
foliage  not  dissimilar  in  coloring  and  com- 
position to  that  of  Act  I.  A  heavy  stake  is 
set  in  the  ground  just  below  the  centre. 

The  light  is  at  first  the  dusk  of  early  morning; 
afterwards  changing  through  sxnirise  to  full 
daylight;  and  at  the  end  transformed 
suddenly  into  the  unnatural  light  and 
color  of  the  fairy  vision. 

At  the  curtain  rise  Rosamund  is  discovered 
fastened  to  the  stake  by  a  chain  about  her 
waist:  leaving  her  free  for  gesture  and  a 
certain  amount  of  motion,  but  without 
suggesting  any  possibility  of  escape,  or 
appearance  of  being  tethered  rather  than 
bound.  Four  soldiers  up  stage  keep  guard 
over  her.  Immediately  after  the  curtain- 
rise  four  others  coming  to  relieve  this  guard 
are  heard  singing  off  stage  to  the  left:  the 
Orchestra  connecting  this  opening  with 
the  opening  of  Act  I. 

Soldiers  (off  stage) 
Good  Saint  Aloys,  one  winter's  night, 

Walking  in  ghostly  meditation. 
Came  upon  a  lady  brave  and  bright : 

Strove  to  achieve  her  soul's  salvation; 


Bade  her  beware  of  earthly  bliss, 

Turn,  and  amend  her,  and  be  shriven — 

(They  break  off  as  they  enter.  The  business 
of  relieving  the  guard  is  gone  through  in 
brief  pantomime.  One  of  the  relieved 
guards  brings  a  couple  of  the  newcomers 
down  to  Rosamund,  and  displays  her 
to  them,  holding  a  horn  lantern  callously 
up  to  her  face.  The  Orchestra 
connects  this  with  the  pause  between 
stanzas  of  the  opening  chorus  of  Act  I, 
the  reverence  of  the  passing  peasants  to 
Rosamund  upon  the  balcony.  Then  the 
relieved  guard  go  up  out  left,  catching  up 
the  song  as  they  go.) 

Soldiers 
Bade  her  beware  of  earthly  bliss, 

Turn,  and  amend  her,  and  be  shriven. — 
"Father,"  quoth  she,  "because  of  this 

Be  thou  rewarded,  and — forgiven," 

Out  of  her  heart  she  plucks  a  rose 

Lighting  the  dark  with  holy  splendor. — 

Man  never  heard  and  Heaven  knows 
Whither  away  his  steps  attend  her. 

{The  Orchestra  recalls  Auburn's  ride 
across  the  valley  in  Act  I.  The  abbey 
bell  is  heard  in  the  distance  and  the  sun- 
rise just  begins  in  the  sky.  Myriel  enters 
up  right,  sombrely  and  simply  dressed. 
She  is  halted  by  the  guard,  one  of  whom 
holds  up  the  lantern  to  her  face.  Thus 
recognized  she  passes  rfo?t'n<o Rosamund. 
In  the  ensuing  scene,  there  is  a  change 
evident  in  both.  Rosamund  is  at  once 
stronger  and  more  tolerant  than  before; 
and  Myriel  has  set  her  whole  resolute 
ivill  upon  being  charitable.) 


Myriel  {to  the  soldiers) 


It 


29 


30 


FAIRYLAND 


{They  let  her  pass.     She  comes  to  Rosa- 
mund, who  makes   no   acknowledgment 
of  her  presence.) 
Daughter,  it  is  I : 
(Rosamund  moves  only  her  eyes) 
No  more 
Thy  judge;  only  another  woman,  come 
To  help  and  hear. 

Rosamund 
There  is  no  help. 

Myriel 


Dost   thou 


So  hate  me? 


Rosamund  (quietly) 
I  have  thought  of  many  things 
This  night.    Mother,  thou  in  thy  holiness, 
And  the  dear  sisters,  with  their  quiet  eyes 
Reflecting  heaven — even  the  snowy  saints 

We  pray  to — even 

Ah,  but  they  never  knew 
What  I  have  known!     Other  things,  better 

things — 
It  may  be  I  am  not  fit  to  choose  heaven — 
Be  it  so:  /  choose! — Therefore  ye  must  now 
Destroy;  not  hating  me — fearing  my  dream. 

Myriel 
Fearing! — I  have  sinned — 

{She  crushes  her  pride  back  into  charity; 
and  with  that,  there  comes  clearly  to 
her  the  sense  of  what  Rosamund's 
vision  might  mean — what  it  would  mean 
to  herself,  in  terms  of  her  own  holiness. 
She  interprets  it  so  with  the  sheer  confi- 
dence of  inspiration.) 

Daughter,  be  thy  name 
Blessed  among  women!    In  my  blind  hour 
I  said  thy  faith  came  to  thee  out  of  hell. 
Forgive.     I  know  now.     Child,  thy  dreams 

have  seen 
Heaven — only,  being  a  soul  unborn 
Out  of  the  body,  thou  hast  named  the  Love 
Past  Understanding  for  the  love  we  know, 
Calling  Paradise  Eden.     .     , 


Rosamund 

Thou  dost  not  know. 
Mother.    It  was  not  heaven. 

Myriel 

Am  I  so  changed? 
I  was  a  woman  ere  I  was  a  nun — 
How  should  I  not  understand?    O,  look  well! 
See  how  it  might  be,  thence  how  it  hath  been. 
And  so  the  truth ! 

Rosamund 

It  is  true  that  I  love 
The  Prince  of  Fairyland. 

Myriel  {with  desperate  enthusiasm) 
It  shall  not  be! 
God  will  not  let  so  much  be  given  in  vain; 
Thou  shalt  not  look  downward,  seeking  for 

Him: 
Burn  thy  wings  in  the  star  of  Bethlehem! 

{very  earnestly  and  more  quietly) 
Little  sister  mine,  thou  are  near  to  death. 
Balancing  between  worlds.    I  promise  thee 
Life,  absolution,  sainthood. 

Rosamund  (dreamily) 

All  for  me? 
I  had  rather  remember. 

Myriel 

As  the  lost 
Remember! — 

(She  controls  herself  again,  and  turns  away 
up  stage  with  wholly  honest  regret.) 
Farewell.    I  can  only  be 
Thy  judge. 

(She  goes  out,  right.  The  light  is  by  now 
that  of  sunrise.  The  Orchestra, 
following  Rosamund's  imagination  as 
before,  recalls  her  first  account  of 
Auburn:  "/  saw  one  riding  on  a  great 
red  steed"  from  Act  I.  The  soldiers 
notice  Auburn,  creeping  in  right. 
The  first,   about  to   challenge   him,   is 


FAIRYLAND 


31 


restrained  by  the  others,  as  about  to  see 
good  sport.  Auburn  produces  a  sword 
wherewith  he  tries  vainly  to  free  Rosa- 
mund.) 

Auburn 
Chains ! 

{He  hews  furiously  at  the  stake  itself;  the 
sword  shatters  in  his  hand.  While  he 
stands  helpless,  the  soldiers  l^reak  into 
pantomime  of  laughter,  and  go  out  into 
the  tavern,  leaving  one  on  guard,  who 
remains  up  stage  quite  out  of  the  scene.) 

Rosamund 
Wherefore  art  thou  come  to  me? 

Auburn 
Nothing.    A  jest  for  fools.    Thou  shalt  not  die 
While  I  live. — It  sounds  bravely,  does  it  not? — 
No  matter. 

Rosamund 
Dost  thou  know  me? 

Auburn 

The  one  soul 
On  earth  believing  me;  my  one  friend  here 
Where  all  people  mock  at  me;  and  my  one 
Love  now  when  nothing  more  remains  of  me 
Worth  loving.    What  else  have  I  ever  known? 
I  would  have  crowned  thee,  when  I  was  a  king; 
I  would  have  saved  thee,  when  I  was  a  man. — 
No  matter.     I  have  grown  old  in  the  dark, 
And  lost  the  dawn. 

Rosamund 
And  thy  queen? 

Auburn 

I  am  here 
At  thy  feet.    I  remember  no  more.    Let 
The  dream  perish ! 

{He  kneels  before  her.  She  looks  down  at 
him  happily.) 


Rosamund 

Art  thou  so  changed? — My  lord, 
I  have  yielded  my  harvest;  I  have  found  my 

need. 
There  is  nothing  more. 

Auburn  {raising  his  head) 
Touch  me! 

{She  rests  her  hands  iipon  his  head.  The 
Orchestra  emphasizes  Rosamund's 
account  of  Auburn  in  Act  I  and 
Auburn's  invocation.  At  the  climax 
he  rises  slowly,  and  they  gaze  upon  each 
other  wondering.  The  ensuing  lines  of 
recognition  are  sung  together  in  duet.) 


Do  I 


Dream  again? 


Rosamund 
Do  I  not  remember? 

Auburn 

Thou, 
Crowned  with  stars,  throned  among  roses- 


ROSAMUND 

Riding  in  golden  arms  under  the  sun- 
Auburn,  my  king! 


Thou 


Auburn 

My  Queen  of  Fairyland ! 

Both 
What  hath  befallen  us? 

Auburn 

We  have  seen  one  light 
Whereof  death  is  the  shadow.    Still,  still  the 

same. 
And  thou  and  love  are  one.     Flower  of  my 

Spring, 
Have  I  seen  thee  in  Autumn?    Moon  of  my 

dream, 
Dost  thou  shine  again?    I  am  nothing  more 
Than  a  poor  pilgrim  who  have  lost  my  palm 


32 


FAIRYLAND 


On  the  way  to  the  shrine;  yet  if  it  be 

Thy   will,    take    these    bare    hands.     Smile 

down,  and  so 
Lighting  the  windows  of  ray  heaven  for  me, 
Bring  the  wanderer  home! 

Rosamund 

We  have  seen  one  light, 
Whereof  death  is  the  shadow.  Lord  of  my  joy, 
I  have  known  thee  in  sorrow.     Sun  of  my 

dawn. 
Make  me  thine  again,  and  I  mind  no  more 
The  small  pain  that  shall  make  darkness  of  me 
Than  songs  of  little  children  far  away, 
Singing  to  call  me  home. 

{By  this  time  it  is  hroad  daylight.  The 
village  wakes  up;  and  the  Chorus  come 
in  here  and  there,  by  tiDos  and  threes, 
moving  about  the  stage;  most  of  them 
finally  going  into  the  tavern.  Soldiers 
appear  and  set  up  two  high  thrones,  up 
right  and  left  {for  Myriel  and  Cor- 
vain).  Auburn  goes  about  from  group 
to  group  of  the  peasants,  seeming  vainly 
to  urge  them  to  rebellion.  They  are 
amused,  incredulous,  embarrassed.  The 
Orchestra  suggests  the  opening  chorus 
of  Act  I,  as  Robin  comes  in  up  left,  and 
is  stopped  by  Auburn.) 


Robin  (entering) 


So  we  who  bear 


Her  burden- 


AUBURN 

Hold  you  there,  good  fellow! 

Robin  (pausing) 

Who 
Calls  me  Goodfellow.'' 

Auburn 

One  who  hath  need  of  thee. 

Rosamund 
Auburn,  the  King! 


Robin 
Dost  thou  say  so? 

Auburn 

Say  thou 
So,  lest  we  all  perish.    If  it  be  true. 
Auburn  reigns;  if  it  be  a  lie,  no  less 
Corvain  falls,  and  the  people  crown  their  king. 

(This  piece  of  practical  politics  impresses 
Robin  as  decidedly  a  good  idea,  and  his 
respect  for  Auburn  visibly  awakens;  but 
having  all  the  peasants  sensitiveness  to 
the  reality  of  his  own  honor,  he  is  a  little 
irritated  too.  He  assumes  a  grotesque 
air  of  putting  the  two  through  an  exam- 
ination.) 

Robin 
And  the  Rose?    And  the  Song? 

Rosamund 

Dreams. 
Robin 

It  may  be 

We  have  our  dreams  too.    Shall  a  dog  forge 

crowns 
Out  of  the  gold  of  the  moon?    Shall  a  blind 

mole 
Honor  the  morning  star?    See  now,  ye  believe 
Neither  yourselves,   nor   us,   nor  your  own 

dream. 

Rosamund 
Art  thou  so  bitter? 

Auburn 

Nay,  it  is  not  that; 
They  live  by  dreams;  we  others  die  of  them. 
(to  Robin,  with  the  wholly  honest  courtesy 
of  an  equal) 
Thy  pardon. 

Robin  (astonished) 
Thou  art  strangely  like  a  king! 


Rosamund 


Dost  thou  say  so? 


FAIRYLAND 


33 


Robin 
Not  I.    If  My  Lord  will— 

{He  gestures  toward  the  tavern;  and  Au- 
burn assenting^  the  two  start  off  together. 
During  this  dialogue^  the  pantomime  has 
continued.  The  Soldiers  and  the  Nuns 
have  been  marching  in  and  grouping 
themselves  about  the  two  thrones.  Au- 
burn, halfway  up  stage,  turns  back  for 
a  last  word  to  Rosamund;  and  at  the 
same  time  Corvain  and  Myriel  enter 
left  and  right.  So  that  as  Auburn 
moves  up  stage  again,  he  encounters 
Corvain  and  a  line  of  Soldiers  block- 
ing the  way.  Robin  has  just  escaped  them 
and  gone  into  the  tavern,  from  which 
sounds  of  revelry  begin  to  be  audible.) 

Corvain 
Patience  awhile,  good  Brother.    What  is  thy 
will? 

Auburn  (quietly  desperate) 
Nothing.    A  little  longer,  and  my  will 
Might  have  been  more. 

Rosamund 

He  is  the  King ! 

Corvain  (deliberately) 

So?     I 
Am  still  king  hereabout.    Our  mother  keeps 
Her  king  in  heaven.    Mayhap  it  were  as  well 
Thy  king  should  go  and  reign  in  Fairyland, 
Lest  we  faint  under  three  crowns. 

Myriel 

Well  dost  thou 
Know  he  is  not  the  King.  What  hast  thou  done 
With  Auburn?    Out  of  consecrated  ground 
His  blood  cries  out  upon  a  brother!    Man, 
Dost  thou  think  I  do  not  know? 

Corvain 

Too  late  now. 
Mother.  Why  not  have  cried  murder  before 
I  caught  out  of  thine  hand  this  golden  toy 


Wherefore  kings  have  been  slain?    Well  dost 

thou  know 
Our  Auburn  lies  in  consecrated  ground ! 
Whoso  digs  deep  enough  may  find  his  bones 
Under  your  abbey ! 

(The  counter-charge  leaves  her  momentarily 
speechless  with  indignation.  Corvain 
goes  on,  dangerously  triumphant.) 

Lord,  what  a  coil!    Brother 
From  brother  set  apart,  a  king  discrowned, 
A  pretty  lady  burned  for  loving-^all 
For  God's  glory!    Well,  I  will  do  my  share — 
Take  him! 

(This  last  is  to  the  Soldiers,  who  at  once 
advance  upon  Auburn.) 

Auburn 
First  I  will  do  mine. 

(After  one  desperate  glance  around,  he 
suddenly  wrests  the  heavy  crozier  from 
Myriel,  and  with  it  furiously  attacks 
Corvain.  Corvain  is  struck  down, 
half  stunned;  and  the  Soldiers  over- 
power Auburn  just  in  time  to  save  him.) 

Myriel  and  the  Nuns 

Sacrilege ! 

Corvain  and  the  Soldiers 
Treason,  ho! 

Corvain  (alone,  as  he  rises) 
Bind  him  yonder! 

(to  Myriel)     Enough !  thou 
Hast  thy  victim,  I  mine. 

(Auburn  is  chained  to  the  stake  beside 
Rosamund  and  to  her  left.  The 
Soldiers  pile  fagots  around  them. 
Myriel  presently  comes  down  to  Rosa- 
mund.) 

Myriel 

Daughter,  believe 
There  is  not  any  anger  in  my  heart 
Against  thee.    Put  away  thy  bitter  strength 


34 


FAIRYLAND 


And  receive  pardon — or,  if  not  for  thyself, 
Remember  this  poor  mad  soul  thou  hast  drawn 
Down  to  thee.    Put  away  thy  bitter  joy. 
And  save  him. 

Auburn 
Dear,  would  I  live  so? 

CORVAIN 

Nay,  save 
Thine  own  life,  pretty  one!  There  is  yet  time 
Despite  all  dreams,  dry  women,  and  dead  men. 
What,  stubborn?  What,  unwilling?  Presently 
The  sparks  crack,  and  the  little  dancing  flames 
Lap  the  lithe  limbs  of  thee,  questioning  all 
Thy  beauty — then  the  fire  towers  and  clings — 

oh, 
A  hungry  lover! — pillowing  thy  white  pain 
In  downy-bosomed  clouds,  holding  the  last 
Wild  leap  of  thee  helpless,  till  thy  life  shines 
In  the  red  heart  of  a  great  rose. 

Rosamund 
{utterly  unshaken,  almost  amused) 
Auburn, 
I  will  tell  thee  a  secret :  he  is  a  fool,  this  king — 
He  thinks  we  are  afraid. 

( There  is  a  muffled  shout  of  laughter  from 
vnthin  the  tavern,  as  Corvain  turns 
aivay.) 

Auburn 

And  then  our  wise 
Mother:  she  thinks  we  need  heaven. 

(Another  howl  of  laughter  from  the  tavern, 
covering  Myriel's  pantomime  of  in- 
vocation.) 


The  Nuns 


Myriel 


Amen. 


Ave  Virgo  gloriosa! 

(As  the  Nuns  sing  the  following,  Myriel 
and  Corvain  assume  their  seats.  The 
Soldiers  are  preparing  to  light  the 
fire.      Auburn    and    Rosamund    are 


interested  only  in  the  growing  under- 
current of  hilarity  within  the  tavern, 
which  disturbs  the  chant;  and  in  so  doing, 
they  call  the  attention  of  the  audience 
thereto.) 

The  Nuns 
Domine,  propone  ducem 
Crucifixi  ferre  crucem 
Per  tenebras  et  in  lucem; 

(The  fagots  are  ready,  and  a  Soldier 
approaches  with  a  torch.  The  Drinking- 
Song  begins  to  be  heard  within  the  tavern. 
The  chant  continues.) 

Aut  nolentem  pertinere, 
Domine,  ne  te  videre 
Defendatur,  miserere. 

(The  fagots  are  lighted.  At  the  first  flicker 
of  flame,  the  Drinking-Song  bursts  out 
full  force,  drowning  the  chant,  lohich 
presently  gives  place  to  it:  so  that  whereas 
the  flrst  stanza  of  the  chant  is  heard 
alone,  the  last  stanza  of  the  Drinking- 
Song  is  so  heard.) 

Chorus    (within  the  tavern) 
Ye  lads  of  beggary,  lords  of  birth. 

And  brothers  about  the  bowl. 
Come  join  the  mirth  of  your  mother  Earth, 
And  pass  her  soul 

Round,  round,  and  round  again — 
Time  your  trouble  was  drowned  again — 
Jollity  followed  and  found  again. 
And  hearts  made  whole. 

Her  frozen  breast  was  a  rose  of  spring 

Or  ever  your  woes  began ; 
So  laugh  your  best,  and  be  king  by  king 

And  man  by  man  (while  years  go) 

Round,  round,  and  round  again — 
Time  your  trouble  was  drowned  again — 
Jollity  followed  and  found  again 
By  him  who  can! 


FAIRYLAND 


35 


Then  think  upon  her,  and  sing  her  honor, 

And  drink  to  her  fair  renown, 
Till  flowers  loom  up  in  the  blooming  cup, 

And  stars  bow  down  {to  the  ground,  so) 

Round,  round,  and  round  again — 
Time  the  Devil  teas  drowned  again — 
J  ollity  followed  and  found  again, 
{And  throned  again,  and  crowned  again) 
With  wine's  own  crown! 

{The  smoke  and  fire  are  spreading  around  the 
stake;  yet  not  so  much  as  to  conceal  the 
two  figures  there  from  the  plain  sight 
of  the  audience.  The  fire-music  in  the 
Orchestra  is  the  patter  of  the  Fairies' 
entrance  in  Act  I.  From  the  first  catch 
of  the  drinking-song,  Rosamund  has  sud- 
denly recognized  the  Fairy  magic  in  the 
peasants'  mirth;  and  as  the  song  goes  on, 
she  is  rapt  into  full  understanding  how 
the  common  folk  are  the  Fairies  after 
all,  and  the  world  one  with  her  dream. 
Of  the  two.  Auburn  is  the  still  and  des- 
perate martyr;  Rosamund  is  trans- 
figured beyond  any  thought  of  death.) 

Rosamund 
Hearken :  the  song ! 

Auburn 

Beloved,  we  have  drunk  one 
Cup  of  red  wine  together — one  more  now, 
And  then —  Fairyland ! 

{He  is  standing  rigid,  looking  only  at  her, 
and  clutching  mechanically  at  the  withered 
Rose  in  his  breast.  Rosamund  lays 
her  hand  upon  his.  At  that  touch,  the 
Rose  suddenly  blooms  and  lights  upwithin 
as  at  first.  Instantly  the  doors  of  the 
tavern  fly  open,  disclosing  a  tableau 
of  Robin  and  part  of  the  Chorus 
grouped  in  a  scene  of  revelry  under 
brilliant  light:  Robin  upon  a  table, 
with  the  same  great  cup  in  his  hand  which 
he  bore  in  the  first  Fairy  scene;  the  others 
,  with  uplifted  arms  around  him.) 


Rosamund 

Look — the  Rose ! 

The  Nuns  and  Soldiers 

The  Rose! 

{The  dry  stem  in  Auburn's  hand  is  a 
burning  blossom.  The  others  are  trans- 
fixed, staring  at  it.  Rosamund  throws 
back  her  head  and  breaks  into  the  Song  of 
the  Rose.  As  she  sings,  Robin  and  the 
Chorus  come  out  of  the  tavern,  waving 
their  cups.  The  lights  change  as  in 
Act  I  into  the  wild  color  of  the  Fairy 
vision. 
The  Chorus,  noiv  Fairies  in  the  unearthly 
light,  keep  pouring  in.  Myriel  and 
Corvain  shrink  from  their  thrones  before 
the  advancing  multitude,  and  fall  back 
down  left  and  right;  while  the  Nuns  and 
Soldiers  give  way  before  the  crowd  of 
Fairies  with  their  cups  and  floivers.  The 
effect  of  all  this  is  not  that  of  a  struggle, 
but  of  an  overpowering  spell  whereto 
there  is  no  resistance:  so  that  Rosa- 
mund's big  solo  is  not  disturbed,  but  as 
it  were  illustrated,  by  the  stage  effect. 
This  action  goes  on  through  the  ivhole  time 
of  her  singing.) 

Rosamund 
Rose  of  the  World,  thou  art  every  one's  own. 
Whosoever 
Wanders  the  garden  shall  wear  thee  and 
bear  thee  along 
Under  the  bosom    of   joy,  on   the    crest    of 
endeavor 
Blooming,  a  blush  and  a  melody,  blossom 
and  song; 
Still,  when  the  kisses  are  done,  when  the  battle 
is  over. 
Burning  before  him,  beyond  him,  alone  and 
afar — 
Light  in  the  heart  of  the  saint;  in  the  heart  of 
the  lover 

Fire;  in  the  child's  heart,  a  star. 


36 


FAIRYLAND 


Star  of  the  Sea,  thou  art  known:  of  thy  gold 
is  our  treasure. 
All  who  have  fought  for  thee,  sought  for  thee, 
under  the  sun, 
Fearing  strange  gods,  bearing  old  pain,  obey- 
ing new  pleasure —  . 
Surely  their  sorrows  are  many;  their  joys 
are  as  one. 
Ever  an  earth  more  unearthly,  a  heaven  more 
human. 
Body  and  soul  of  desire  in  immortal  alloy. 
Dreams  in  the  sword  of  the  man,  in  the  womb 
of  the  woman — 

One  hope,  one  beauty,  one  joy! 

(The  transformation  is  complete.  Robin 
comes  out  before  the  stake,  holding  his 
cup  aloft.) 

Robin 
Health  to  the  King  and  Queen! 
Chorus 

Our  King  and  Queen! 

{He  drinks,  and  casts  the  last  drops  of  wine 
upon  the  fire.  It  vanishes,  and  the  chains 
fall.) 

Chorus 
Crown  them !    Crown  them !    Crown  them ! 
(Auburn  and  Rosamund  are  momentarily 
lost  in  the  crowd  of  Fairies  as  Robin 
turns  to  the  others.     During  his  next 
four  lines,  the  thrones  are  brought  down 
and  placed  side  by  side  near  the  stake,  and 
Auburn  and  Rosamund  robed  glorious- 
ly and  seated  therein.      The  Fairies  are 
grouped  around  them;  Myriel  and  the 
Nuns  further  to  the  left,  Corvain  and 
the  Soldiers  further  to  the  right  and 
Robin  beside  the  thrones.) 
Robin 
Ye  whose  blind  power  is  melted  into  mirth, 

Whose  holiness  is  now  a  sin  forgiven : 
Knowing  not  heaven,  what  have  ye  known  of 
earth? 
Knowing  not  earth,  what  can  ye  know  of 
heaven? 


Chorus 
Fairyland !     Fairyland !     Fairyland ! 

{By  now  the  final  tableau  is  arranged,  and 
the  scene  proceeds  to  an  end  as  in  Act  I, 
ivithout  movement.) 

Auburn,  Rosamund,  Robin 
Now   it   is   known:   the   kingdom   of   fancy, 
founded 
Firm  in  the  flesh  that  hungers,  the  soul  that 
knows; 
Throned  upon  clay,  with  fire  as  a  robe  sur- 
rounded. 

Auburn 
Crowned  with  the  light  of  heaven — 

Rosamund 
The  light  of  a  dream — 

Robin 

The  light  of  the  Rose ! 

{Against  this  is  sung  the  Chorus  following: 
so  that  the  whole  comes  to  an  end  to- 
gether.) 

Chorus 
Where  shall  loe  hide  from  Fairyland?    We  who 
are  woman-born: 
A  music  of  God's  making  to  the  word  of  mans 
demand? — 
Never  an  ear  too  dull  to  hear  the  call  of  the  Elfin 
horn, 
Nor  an  eye  so  blind  but  it  shall  find  the  way  to 
Fairyland! 

How  shall  we  dwell  in  Fairyland?    We  who  are 
dust  and  fire. 
Glory  and  gloom  interwoven,  a  dark  and  a 
shining  strand? — 
One  in  the  pain  ice  remember,  one  in  the  joy  we 
desire. 
Waking  on  earth,  sleeping  in  heaven,  dream- 
ing in  Fairyland! 

Curtain. 


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„  ,  Form  L9-Series  4939 

Erlat 

dn 

leaux,  after  the  romance  of  Pierre 
Louys,  French  and  English  text. 
English  version  by  Leonard  Marsh 

Fevrier,  Henry.  Monna  Vanna:  lyric 
drama  in  four  acts  and  five  tableaux, 
by  Maurice  Maeterlinck;  French 
text  with  English  version  by  Claude 
Aveling 

Herbert,  Victor.  Natoma:  an  opera  in 
three  acts;  the  book  by  Joseph  D. 
Redding 

Madeleine:    a    lyric    opera    in    one 

act;  adapted  from  the  French  of 
Decourcelles  and  Thibaut,  by  Grant 
Stewart 

Leoncavallo,  'R.  Pagliacci  (Punch- 
inello): drama  in  two  acts;  Italian 
text  with  English  version  by  Henry 
Grafton   Chapman 

Mascagni,  P.  Cavalleria  rusticana 
(Rustic    chivalry):    melodrama    in   one 


35 


35 


35 


25 


25 


dance);  a  musical  play  in  three  arts; 
the  words  by  Otto  Julius  Bierbaum; 
German  text  with  English  version  by 
M.  T.  E.  Sandwith  35 

Wolf -Ferrari,  Ermanno.  Doctor  Cupid 
(L'Amore  Medico):  Musical  comedy 
in  two  acts,  after  Molicre.  Verse  by 
Enrico  Golisriani.  Italian  text  with 
English  version  by  Claude  Aveling  35 

Inquisitive  women  (Le  donne  curi- 

ose):  a  musical  comedy  in  three  acts, 
after  Carlo  Goldoni,  by  Luigi  Sugana; 
Italian  text  with  English  version  by 
A.  J.  du  P.  Coleman  35 

The  jewels  of  the  Madonna:  opera 

in  three  acts,  on  Neapolitan  life;  verse 
by  C.  Zangarini  and  E.  Golisciani; 
Italian  text  with  English  version  by 
Claude  Aveling  35 

— — Suzanne's  secret  (II  segreto  di 
Susanna):  interlude  in  one  act  (after 
the  French  of  Golisciani);  the  book 
by  Max  Kalbeck;  Italian  text  with 
I'.nglish   version   by   Claude   Aveling  35 


iXi\ 


<:4 ,  i^'^IS^i 


